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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 He explains the historical references and hidden details woven into the lyrics, including the meaning behind the address “1620 Old Harm’s Way,” which he challenged me to decipher during our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

On this episode of The Bandwich Tapes, I sit down with drummer Richie Morales for a wide-ranging conversation about groove, versatility, preparation, and a career spent playing alongside some remarkable musicians. Richie takes me back to his early years in Chicago and New York, where an eclectic musical upbringing and a willingness to learn opened doors to gigs with Ray Barretto, the Brecker Brothers, Spyro Gyra, Grover Washington Jr., Mike Stern, Al Di Meola, Dave Valentin, Bill Evans, and many others. We talk in depth about joining the Brecker Brothers, the intensity required to play that music, and what it meant to share a drum chair once occupied by some of his own heroes. We also dig into Richie’s years with Spyro Gyra and the importance of developing a personal voice within an established band’s sound. Richie talks about working alongside great percussionists, learning the language of Afro-Cuban and Brazilian music on the bandstand, and understanding how a drummer and percussionist can create one unified rhythmic voice without getting in each other’s way. A large part of our conversation is about education—not only Richie’s years as a teacher, but the kind of education that happens by playing with musicians who are more experienced than you. Richie reflects on the master-apprentice tradition that shaped him, his decision to return to school later in his career, and what today’s young musicians gain—and sometimes miss—in a world increasingly shaped by conservatories, YouTube, and social media. And through all of it, we keep coming back to something fundamental: feel. Technique matters. Reading matters. Preparation matters. Versatility matters. But as Richie puts it, the feel is why people call you back. Key Takeaways • Richie traces his versatility to an early musical environment filled with rock, blues, jazz, Latin music, classical music, R&B, and pop. • His relationship with Randy and Michael Brecker grew out of New York’s club scene, particularly Seventh Avenue South, eventually leading to touring and recording with the Brecker Brothers. • Playing the Brecker Brothers’ music required intensity, deep pocket, stylistic authenticity, interaction, and the ability to move comfortably between R&B, jazz, Afro-Cuban, Brazilian, and fusion vocabulary. • Richie credits musicians including Ray Barretto, Manolo Badrena, Don Alias, Sammy Figueroa, and others with helping him understand how drums and percussion can work together as one rhythmic voice. • His years with Spyro Gyra gave him time to move beyond simply learning an established band’s sound and begin putting his own musical personality into the music. • Preparation and professionalism have been as important to Richie’s career as technique: learn the music, understand the style, show up ready, and don’t make the same mistake twice. • Richie sees enormous value in music education and modern technology, but believes there is still no substitute for playing with experienced musicians and learning on the bandstand. Music from the Episode Bright Lights - Spyro Gyra Spirit Walk - Richie Morales Piri Ti Latino - Spyro Gyra Pan Caribe - Richie Morales About the Podcast The Bandwich Tapes is a musician-to-musician conversation about the people, experiences, and ideas behind the music. I talk with artists about their careers, creative process, collaborations, influences, and the lessons they’ve learned along the way. Connect with the Show Questions, comments, or guest suggestions? contact@thebandwichtapes.com

Episode Summary On this episode of The Bandwich Tapes, I'm joined once again by actor, writer, and songwriter James Woods for the second installment of our three-part conversation about his new album, The Killer's Wife. After exploring James's transition into songwriting and the beginnings of this remarkable project in our first conversation, we return to take a closer look at the music itself, the stories behind the songs, and the creative partnership that brought the album to life. James takes us inside his collaboration with songwriter and musician Bob Wayne and Grammy-winning producer Shooter Jennings. We discuss how James's lyrics become the foundation for Bob's compositions, how Shooter approaches the recording process, and why the three have developed such a strong creative relationship. James also shares stories from the sessions at Sunset Sound, the musicians who helped shape the record, and the importance of allowing a song to develop naturally rather than forcing it into a predetermined structure. Much of our conversation focuses on the cinematic nature of The Killer's Wife. James explains how the album gradually developed into a larger narrative built around a fictional radio broadcast and tent revival, with themes of good and evil, faith, violence, redemption, and hope. We explore the origins of "I Am the Blazing Sun" and "Hearts of Men," two songs that eventually became the album's musical and thematic bookends, and how an unexpected creative breakthrough helped bring the entire concept together. We also dig into the songwriting itself, including "Shadows of the Past," "Early Ripe, Early Rotten," "The Killer's Wife," and "Harm's Way." James shares how personal memories, literature, mythology, film, and even something as simple as a street sign can become the starting point for a song. He explains why a single word can transform a lyric, how he decides what to reveal to the listener, and why he's willing to let the music reshape the structure of his writing. What I enjoyed most about this conversation was hearing James examine his own creative process, sometimes discovering connections and influences he hadn't consciously considered while writing. It's a fascinating look at an artist finding a new form of expression, and at a group of collaborators who trust one another enough to take creative risks. This is part two of our three-part series with James Woods. We'll continue our exploration of The Killer's Wife in the next episode, going further into the songs, the production, and the stories behind the album. Key Takeaways A different kind of creative expression: James discusses how writing lyrics differs from acting and how songwriting has allowed him to explore personal memories, emotions, and experiences in ways he hadn't anticipated. The partnership with Bob Wayne and Shooter Jennings: James explains how his lyrics inspire Bob's compositions, how Shooter brings his instincts as a producer to the recording process, and why trust and creative freedom are essential to their collaboration. Building a cinematic concept album: The Killer's Wife evolved into a larger narrative framed by a fictional radio broadcast and tent revival, connecting individual songs through themes of good, evil, redemption, and hope. The origins of "I Am the Blazing Sun" and "Hearts of Men": Written at different points in the creative process, these songs eventually became the album's opening and closing statements, giving the project its larger thematic structure. Writing from experience and imagination: From the personal reflections of "Shadows of the Past" to the darker storytelling of "Early Ripe, Early Rotten," James explores how lived experiences, literary influences, and fictional narratives inform his lyrics. The power of a single word: James explains how changing a lyric from "bodies" to "secrets" in "The Killer's Wife" transformed a literal description into something more poetic and evocative. Authenticity over perfection: James discusses the importance of preserving the human element in recordings, embracing spontaneous performances, and allowing the musicians to bring their individual personalities to the music. Music from the Episode The Hearts of Men - James Woods The Killer's Wife - James Woods Shadows of the Past - James Woods Harm's Way - James Woods 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

On this episode of The Bandwich Tapes, I sit down with twin brothers Chad and James Hampton, founders of Huntin’ the Truth Ministries, pastors, outdoorsmen, authors, and hosts of Twin Factor. Their work brings together faith, hunting, mentorship, and a simple question that has become central to their ministry: What are you hunting for? Chad and James grew up hunting with their father, beginning with bow hunting when they were seven years old. What started as a shared love of the outdoors eventually became the foundation for Huntin’ the Truth Ministries in 2004. We talk about how they began using hunting as a way to connect with people, share their faith, and mentor young people—including kids growing up without fathers and children with disabilities. We also spend time discussing their new devotional, 100 Days of Strength for Hunters. Chad and James explain why they believe everyone is hunting for something, whether or not they ever step into the woods. The devotional encourages readers to slow down, spend time with God, and think intentionally about what they are pursuing and where that pursuit is leading them. Our conversation also gets into the challenges facing young people in a world increasingly dominated by technology, social media, and constant distraction. Chad and James share why they return to the biblical story of Solomon as an example of the difference between pursuing things that appear fulfilling and pursuing a life grounded in purpose, faith, and relationships. Finally, we talk about what it has meant to spend their lives working together as twins. They share how their different strengths complement one another, how they have supported each other through difficult seasons, and why living out the principles they teach matters more than simply talking about them. We also discuss Twin Factor, their work with Gold Star families, and their upcoming talk show, What Do You Hunt For with the Twins? Key Takeaways • Chad and James began hunting with their father at seven years old, long before they realized the outdoors would eventually become central to their ministry. • Huntin’ the Truth Ministries began in 2004 with a vision of using hunting and the outdoors as a way to share their faith, build relationships, and mentor others. • Their devotional, 100 Days of Strength for Hunters, is built around the idea that everyone is pursuing something and encourages readers to intentionally consider what they are “hunting” for in life. • Mentoring young people, particularly those without strong father figures in their lives, has been an important part of Chad and James’ work from the beginning. • Through Twin Factor, the brothers have used television as an extension of their ministry, including helping create hunting experiences for Gold Star children who lost fathers on active duty. • Chad and James see their twin relationship as both a source of accountability and a partnership in which their different strengths allow them to accomplish more together. • Difficult seasons in their own lives have challenged them to live out the same lessons about faith, perseverance, and endurance that they share with others. Theme music: "Playcation" by Mark Mundy About the Podcast The Bandwich Tapes is a podcast about music, creativity, and the people behind the work, but the conversations often reach beyond music into the experiences, relationships, and ideas that shape our lives. I sit down with musicians, songwriters, artists, authors, and other guests for thoughtful conversations about their work, their stories, and what they have learned along the way. Connect with the Show contact@thebandwichtapes.com

On this episode of The Bandwich Tapes, I sit down with guitarist Oz Noy for a conversation about the musical path he has built over three decades in New York, the players who have helped shape his music, and why clarity and groove remain at the center of his approach. Oz talks about arriving in New York after already establishing himself as a working musician in Israel. Interestingly, becoming a solo artist was never really the plan. He simply wanted to play well, work with great musicians, and get gigs. His regular performances at the Bitter End gradually became a laboratory for developing his own music, eventually leading to recordings and a career as a bandleader. We also get into Oz's fascination with great rhythm sections and the remarkable drummers he has worked with over the years, including Keith Carlock, Dave Weckl, Vinnie Colaiuta, Dennis Chambers, Anton Fig, and others. Oz's music has always been rooted in groove, and he talks about how moving to New York put him in the orbit of many of the musicians he had admired. Oz also discusses his approach to practicing, improvisation, and teaching, along with his new instructional book on triad comping. For Oz, complexity isn't necessarily the goal. He is drawn to musical ideas that are clear and focused—whether that's an improvised line, a chord voicing, or an entire composition. We finish by talking about his growing interest in the organ trio format, an upcoming organ trio album planned for 2027, and his loose, collaborative project with Joe Bonamassa, Will Lee, and Steve Ferrone. It's a conversation about developing a voice over time, finding the right musicians, and allowing musical ideas to evolve naturally. Key Takeaways • Oz never initially set out to become a solo artist. His career as a bandleader grew organically from playing his own gigs after moving to New York. • His regular performances at the Bitter End became an important laboratory for developing his compositions, sound, and musical identity. • Groove is central to Oz's music, which has led to long-running collaborations with drummers including Keith Carlock, Dave Weckl, Vinnie Colaiuta, Dennis Chambers, and Anton Fig. • Oz believes musical ideas need time to develop. Concepts often have to "marinate" before they become a natural part of a musician's playing. • His approach to triads and comping reflects a larger musical philosophy: clarity can often be more effective than density or unnecessary complexity. • Hearing The Beatles helped ignite Oz's interest in electric guitar, while seeing the Pat Metheny Group's Still Life (Talking) tour in Israel became a life-changing musical experience. • Oz's current interest in organ trio playing has opened up a different musical space, giving him another improvising voice in the band while changing the overall texture and feel of the music. Music from the Episode Get Down - Oz Noy Solar - Oz Noy All the Things You Are - Oz Noy Zig Zag - Oz Noy About the Podcast The Bandwich Tapes is a podcast about the people who make music and the experiences that shape them. Hosted by musician Brad Williams, the show features conversations with artists, songwriters, producers, engineers, and other creative voices about their careers, influences, collaborations, creative process, and the craft behind the music. Connect with the Show Questions, comments, or guest suggestions? contact@thebandwichtapes.com

On this episode of The Bandwich Tapes, I sit down with mandolinist, singer, and recording engineer Ethan Setiawan to talk about his new album, Little Storms, and the musical relationships that have shaped the band behind it. Ethan talks about meeting his bandmates during his years in Boston and why chemistry, listening, and simply getting along can be every bit as important as technical ability when putting a group together. We also trace Ethan’s path on the mandolin, from learning bluegrass and old-time music as a young player to winning the National Mandolin Championship at seventeen. He reflects on the value of competitions as developmental milestones, the communal nature of bluegrass festivals, and the musicians who helped expand his idea of what the mandolin could do, including Mike Marshall and Jacob Jolliff. Ethan takes me inside the making of Encyclopedia Mandolinica, his collection of mandolin duets and trios, and explains what recording with different players taught him about working efficiently in the studio. We also talk about his experience as an engineer and mixer, the importance of stepping away from a project to regain perspective, and the value of working with an engineer you trust. With Little Storms, Ethan has also stepped more fully into the role of lead singer. We talk about recording the band live in a room together, the concentration required to sing and play mandolin simultaneously, and why he is particularly proud of the way his vocals and the ensemble came together on the record. Along the way, we discuss Ethan’s years at Berklee, the changing realities of building a career as an independent musician, and the tension between music that develops slowly and a social media culture built around short-form content. For Ethan, the heart of it still comes back to playing live, listening closely, and making music with people he trusts. Key Takeaways • Ethan believes a successful band depends heavily on chemistry, listening, and the ability of musicians to adapt to one another—not simply individual technical ability. • Bluegrass and old-time music were Ethan’s entry points into the mandolin, and after exploring jazz and other styles, he has increasingly returned to those roots. • Winning the National Mandolin Championship at seventeen gave Ethan a valuable developmental benchmark, although he sees competition as very different from the collaborative spirit of making music. • Mike Marshall has been a major influence on Ethan because of his ability to move naturally between bluegrass, jazz, Brazilian choro, and other musical traditions. • Recording Encyclopedia Mandolinica taught Ethan how to enter a studio, focus quickly, and create strong performances within relatively short sessions. • Ethan’s engineering experience has helped him make records more independently, while also teaching him the importance of leaving time between recording, editing, and mixing to regain perspective. • On Little Storms, Ethan challenged himself to sing lead while playing mandolin live with the band, an experience that changed how he thinks about simplicity, concentration, and serving the music. Music from the Episode I Didn't Try Hard Enough - Ethan Setiawan The Harbor Walk - Ethan Setiawan Whiskey Boys - Ethan Setiawan About the Podcast The Bandwich Tapes is a music interview podcast hosted by Brad Williams featuring conversations with musicians, songwriters, producers, and other creative artists. Each episode explores the experiences behind the music—from influences and collaboration to technique, creativity, recording, touring, and the lifelong process of becoming a better musician. Connect with the Show contact@thebandwichtapes.com

On this episode of The Bandwich Tapes, I sit down with Sarah Anderson and Paul DeHaven of Heavy Diamond Ring for a conversation about a musical partnership that has lasted more than two decades, the evolution of their approach to making records, and the band’s new EP, Let Love Be Enough. Sarah and Paul first met when they were young musicians in Colorado and quickly began making music together. Their partnership eventually led to more than a decade in Paper Bird and, later, Heavy Diamond Ring. We talk about what allows a musical relationship to survive that long, why friendship and humor matter as much as musicianship, and how Heavy Diamond Ring developed into a band where listening to one another is more important than filling every available space. That idea of space becomes a big part of our conversation. Paul talks about moving away from a more cerebral approach to playing and becoming increasingly interested in restraint, feel, and music that creates a place for the listener to inhabit. Sarah describes a similar evolution, from wanting to fill every space and make everything perfect to realizing that sometimes the most powerful thing a band can do is simply let a song breathe. We also dig into the making of Let Love Be Enough, which began when the band took advantage of some extra time on tour in Minnesota and decided to experiment with recording away from their usual environment. That experience eventually brought them back to Minnesota to finish the EP, giving the band a chance to rethink some of its usual studio habits. Sarah talks about gaining confidence as a singer in a different recording environment, while Paul discusses the creative value of limitations and treating each record as a snapshot of who the band is at that particular moment. Throughout the conversation, we keep returning to the idea of capturing something human. Sarah and Paul talk about imperfection, live performance, musical communication, and why a record doesn’t have to be polished into perfection to be right. We also discuss Sarah’s vocal influences, including Dolly Parton, Joni Mitchell, Fleetwood Mac, and Courtney Marie Andrews, the band’s connection to the sounds of the 1970s, and why Heavy Diamond Ring ultimately wants its records to sound and feel like people making music together. Key Takeaways • Sarah Anderson and Paul DeHaven have been making music together for more than two decades, beginning when they were young musicians in Colorado and continuing through Paper Bird and Heavy Diamond Ring. • Friendship, communication, and humor have been essential to their musical partnership and to the chemistry of Heavy Diamond Ring. • The band has gradually moved toward a more spacious approach to arranging, where restraint, listening, and knowing when not to play are as important as the notes themselves. • Let Love Be Enough began during a tour stop in Minnesota, giving Heavy Diamond Ring an opportunity to experiment with recording away from its usual studio environment. • Sarah found that working in a different studio and without the familiarity of recording with her brother helped build her confidence as a vocalist. • The band increasingly views recording as capturing a moment rather than creating a definitive, perfect version of a song. Imperfection can preserve the humanity and communication of musicians playing together. • Heavy Diamond Ring draws inspiration from the feel and sound of classic recordings while keeping the focus on songs, dynamics, collaboration, and the musical relationship between the players. Music from the Episode The One You Use - Heavy Diamond Ring Problems Got Problems - Heavy Diamond Ring Whatever You Need - Heavy Diamond Ring About the Podcast The Bandwich Tapes is a podcast about music, the people who make it, and the experiences that shape their creative lives. I sit down with musicians, songwriters, producers, and other artists for thoughtful conversations about craft, collaboration, careers, influences, and the stories behind the music. Connect with the Show contact@thebandwichtapes.com

On this episode of The Bandwich Tapes, I sit down with drummer, recording engineer, and educator Joel Rosenblatt for a conversation that goes well beyond drumming. Joel has spent his career moving between remarkably different musical environments, including Michel Camilo, Spyro Gyra, Pure Prairie League, Blood, Sweat & Tears, Broadway productions including In the Heights and Hamilton, and countless recording sessions. We talk about the experiences that shaped Joel as a musician, including stepping into Michel Camilo’s band after a recommendation from Dave Weckl and suddenly finding himself in a rhythm section with Anthony Jackson. Joel shares what he learned about pocket, feel, and playing inside a great arrangement, and how those lessons changed when he joined Spyro Gyra and had to learn how to help build an entire musical arc over a vamp. Joel also takes me inside the making of Spyro Gyra’s live album Road Scholars, his approach to playing with percussionists, and why hearing everyone onstage is essential to being a good ensemble musician. We get into his time with Pure Prairie League, where a very different kind of music taught him about feel, simplicity, and connecting with an audience. We also talk about Joel’s work as a recording engineer and how working on the other side of the glass changed the way he hears his own playing. From recording drums at home to performing Broadway shows such as In the Heights, Mamma Mia!, On Your Feet!, and Hamilton, Joel explains why professionalism sometimes means bringing your personality to the music—and other times means playing exactly what the music requires. Most importantly, this becomes a conversation about identity and change. Facing significant back problems and uncertainty about whether he will be able to continue playing drums, Joel speaks candidly about what happens when the thing you have done for most of your life may no longer define what comes next. We talk about career transitions, relationships, aging, creativity, and the possibility that a musician's next chapter can look very different without being any less meaningful. Key Takeaways Joel explains how playing with Anthony Jackson reshaped his understanding of pocket and the role of the rhythm section. His transition from Michel Camilo to Spyro Gyra required learning how to create musical development over vamps rather than relying on the composition to provide the entire arc. Joel discusses the making of Spyro Gyra’s Road Scholars and why he personally listened through recordings from dozens of shows to help choose the performances used on the album. Great ensemble playing begins with listening. Joel explains why he wants to hear the entire band in his monitors rather than focusing only on his own instrument. Recording and engineering exposed details in Joel’s own playing and helped refine his relationship with time, feel, and the click. Broadway taught him a different kind of musicianship: respecting the written part, eliminating ego, and delivering the performance the production requires every night. Joel reflects candidly on physical limitations, aging, musical identity, and the difficult yet potentially rewarding process of reinventing oneself when life forces change. Music from the Episode Heart of the Night - Spyro Gyra Why Not - Michel Camilo Trio Shaker Song - Spyro Gyra No Strings Attached - Double B Double V About the Podcast The Bandwich Tapes is a podcast about the people who make music and the experiences that shape them. Hosted by musician Brad Williams, the show features conversations with artists, songwriters, producers, engineers, and other creative people about their careers, craft, collaborations, influences, and the realities of a life spent making music. Connect with the Show Questions, comments, or guest suggestions? contact@thebandwichtapes.com

On this episode of The Bandwich Tapes, I sit down with keyboardist, composer, producer, and bandleader David Garfield for a conversation that quickly turns into a history lesson, a rhythm-section master class, and a look at what it actually means to spend a lifetime making music with other people. David takes me back to his formative years in St. Louis, where he started on drums, discovered jazz through his high school stage band, and learned by getting on bandstands with working musicians around the city. Those experiences eventually led him to Los Angeles, where, still a teenager, he landed a gig with Freddie Hubbard and found himself immersed in one of the richest musical communities imaginable. A major thread throughout our conversation is David’s relationship with drummers. We talk extensively about Carlos Vega, Jeff Porcaro, Vinnie Colaiuta, Jim Keltner, John “JR” Robinson, Greg Bissonette, Simon Phillips, Steve Ferrone, Joe Porcaro, and others. David explains how starting as a drummer shaped his approach to keyboards, timing, note placement, and groove—and why every great drummer requires a slightly different musical response. We also dig into David’s Tribute to Jeff project and the philosophy behind assembling an extraordinary group of musicians to honor Jeff Porcaro through the thing that mattered most: the groove. David shares stories about Bernard Purdie, Don Henley, Eddie Van Halen, Greg Phillinganes, Carlos Vega, and the Porcaro family, while explaining why the project had to remain centered on Jeff rather than the famous musicians participating in it. More than anything, this conversation is about listening. David talks about playing with bassists and guitarists, leaving room for other musicians, choosing the right people for a session, and creating an environment where musicians can bring their own personalities to the music. We also discuss his expansive Outside the Box recordings and his determination to document performances with musicians he admires while there is still an opportunity to get everyone into a room and make music together. Key Takeaways • David’s early years playing drums continue to shape his keyboard playing, particularly his sense of timing, groove, articulation, and interaction with a rhythm section. • Growing up in St. Louis gave David an education that extended well beyond formal instruction. Playing jazz and R&B gigs with experienced musicians taught him how to listen, react, and function on a real bandstand. • His friendship with Carlos Vega became a defining musical relationship. Carlos influenced David’s decision to focus on keyboards and later helped introduce him to the professional studio and touring world in Los Angeles. • David approaches playing as a conversation. Rather than forcing every musician into a predetermined arrangement, he creates a framework and leaves room for musicians to respond to one another in real time. • Tribute to Jeff was intentionally built around Jeff Porcaro’s musical legacy and the groove. David invited drummers connected to Jeff to choose grooves and musical ideas that reflected their relationships with him. • For David, great rhythm-section playing depends as much on restraint as technique. Bassists, keyboardists, guitarists, and drummers have to listen to one another and understand when not to fill the available space. • David’s Outside the Box recordings grew from a desire to document music with players he admired, ultimately expanding into a large collection that moves through jazz, funk, R&B, rock, vocal music, and other styles. Music from the Episode Hero with a 1000 Eyes - David Garfield E Minor Shuffle - David Garfield Babylon Sisters - David Garfield What You Won't Do for Love - David Garfield Teen Town - David Garfield About the Podcast The Bandwich Tapes is a podcast about the people who make music and the experiences that shape them. I sit down with musicians, songwriters, producers, engineers, and other creative voices to talk about their careers, their craft, the records and performances that mattered, and the lessons they have learned along the way. Connect with the Show contact@thebandwichtapes.com

On this episode of The Bandwich Tapes, I sit down with singer-songwriter Coyle Girelli for a conversation about melody, singing, collaboration, and the experiences that have shaped his songwriting. We spend a lot of time talking about his album Out of This Town and its deluxe edition, a collection with an unusual history that stretches back roughly a decade and grew out of his remarkable songwriting partnership with the late Mac Davis. Coyle talks about meeting Mac after Mac saw him perform “Champion” with The Chevin on Letterman, and how their connection quickly developed into a prolific writing partnership. The songs often came together in an hour or two, but the experience had a lasting effect on Coyle. He describes his songwriting life as essentially “pre- and post-Mac,” crediting Mac with teaching him to pay closer attention to the craft and care behind every part of a song. We also get into Coyle’s wide range of musical influences, his obsession with melody, and the quality he hears connecting artists as different as Bruce Springsteen, Bob Dylan, Tom Petty, Nirvana, Puccini, and Verdi: soul. For Coyle, great music ultimately comes down to sincerity, believing the song and communicating something genuinely human through it. Coyle also shares stories from his years of collaborating with other artists and songwriters, including Linda Perry, Amy Allen, LP, and others, as well as the unexpected journey of BTS recording one of his songs. We talk about his move from Yorkshire to New York, the pressures of working within the major-label system, his approach to recording vocals, and why he prefers to capture performances before overthinking them. We close with a fascinating look at Calm + Collected, the music group Coyle co-founded to support artists working in jazz, classical, ambient, wellness, and other listening spaces. That leads us into a broader conversation about streaming, the changing music business, artificial intelligence, albums, and why Coyle believes that no matter how technology changes, people will continue to need music made by other human beings. Key Takeaways • Coyle sees melody as one of the central elements of his musical life, both as a songwriter and as a listener. • Working with Mac Davis fundamentally changed the way Coyle approached songwriting, adding a deeper level of attention and craftsmanship to instincts he had already developed. • Out of This Town was never originally conceived as an album. It emerged naturally from Coyle and Mac spending time together and writing songs, some of which were completed in only an hour or two. • The album’s long journey ultimately led to Sun Records, a fitting home given Mac Davis’ connection to Elvis Presley and Sun’s place in music history. • Writing with artists and songwriters including Linda Perry, Amy Allen, and LP helped Coyle expand his creative vocabulary and reinforced his belief that every collaboration offers something to learn. • As a singer, Coyle prefers capturing vocals in one or two takes, believing that overthinking or oversinging can gradually diminish the performance. • Despite enormous changes in technology, distribution, streaming, and AI, Coyle believes the essential purpose of music remains unchanged: one human translating experience and emotion into sound for another human to receive. Music from the Episode Out of This Town - Coyle Girelli It Only Hurts When I'm Awake - Coyle Girelli Lost To the River - Coyle Girelli (with KT Tunstall) About the Podcast The Bandwich Tapes is a podcast about music, the people who make it, and the experiences that shape their creative lives. I sit down with musicians, songwriters, producers, and other artists for thoughtful conversations about craft, collaboration, careers, influences, and the stories behind the music. Connect with the Show contact@thebandwichtapes.com

On this episode of The Bandwich Tapes, I sit down with Brian Sachs, drummer, songwriter, and co-founder of Mynd Reader, for a conversation about returning to music, discovering songwriting later in life, and learning to approach creativity with a different set of priorities. Brian’s first musical life took place in New York City with The Authority, a band that came up alongside the Spin Doctors, Blues Traveler, and Joan Osborne in the city’s club scene. After years away from making music, Brian eventually found his way back, but without the ambition and competitiveness that accompanied his younger years. With Mynd Reader, he describes making music from a place of gratitude, curiosity, and a desire to serve the song rather than himself. We spend a lot of time talking about craft. Brian explains how his background as a drummer shapes his songwriting, why new ideas need a safe collaborative environment, and how his partnership with Tonin allows fragile ideas to develop without being dismissed too quickly. We also get into his evolution as a drummer,  from progressive rock influences like Bill Bruford, Phil Collins, Keith Moon, and Stewart Copeland to discovering James Brown, funk, Latin rhythms, and a completely different understanding of groove. We also dig into Mynd Reader’s new EP, Sunday Drive, and the decision to record the band without a click, allowing the music to breathe naturally. Brian talks about working with Grammy-winning mixer Michael Brauer, the importance of Shelby Kemp’s voice and the lyrical content of the songs, and the band’s attempt to capture something timeless rather than simply make stripped-down versions of previously recorded material. At the center of the conversation is an idea Brian returns to repeatedly: serve the song. Whether he’s writing, playing drums, collaborating with another musician, or deciding not to play at all, Brian has learned that maturity in music often means knowing when to step forward — and when to leave space for somebody else. Key Takeaways • Returning to music later in life gave Brian a different perspective, replacing much of the ambition and competitiveness of his younger years with gratitude and appreciation. • Brian discovered songwriting after years of identifying primarily as a drummer, and his rhythmic background continues to shape the melodies and phrasing of his lyrics. • His songwriting partnership with Tonin depends on trust and a “yes, and” approach that allows vulnerable new ideas to develop before they are judged. • Brian’s early drumming influences included Bill Bruford, Phil Collins, Keith Moon, Stewart Copeland, and Ian Paice, but his time with The Authority introduced him to James Brown, funk, Latin rhythms, and a much broader concept of groove. • Playing alongside bassist Zach Jackson reinforces Brian’s belief that tone, feel, instinct, and listening matter more than technical display. • Mynd Reader recorded the six songs on Sunday Drive in roughly ten hours without a click, allowing the tempos to move naturally with the emotional needs of the songs. • Working with Michael Brauer helped the band approach Sunday Drive as something more than an acoustic reinterpretation. The goal was to create different versions of the songs built around Shelby Kemp’s voice, the lyrics, and an easy, timeless musical feel. Music from the Episode Still Uncertain - Mynd Reader Soundtrack of Life - Mynd Reader Mourning Light - Mynd Reader About the Podcast The Bandwich Tapes is a podcast about music, the people who make it, and the experiences that shape a creative life. Hosted by musician Brad Williams, the show features conversations with artists, songwriters, producers, composers, and other music professionals about their careers, creative processes, collaborations, influences, and the craft behind their work. Connect with the Show Questions, comments, or guest suggestions? contact@thebandwichtapes.com

On this episode of The Bandwich Tapes, I sit down with James Woods for a conversation centered on a part of his creative life that may surprise people who primarily know him as an actor: songwriting. James talks about the remarkable burst of creativity that has produced more than 75 songs and a series of concept albums created alongside Shooter Jennings and Bob Wayne. We dig into his upcoming album, The Killer’s Wife, the single “The Hearts of Men,” and the real-life experience that became the starting point for the album’s fictional story. What interested me most was the difference James sees between acting and songwriting. As an actor, he spent decades interpreting someone else’s words and vision. Songwriting has given him the opportunity to begin with a blank page and say exactly what he wants to say. We talk about writing quickly, trusting instinct, revising individual words until they feel right, and what happens when a song seems to arrive almost fully formed. James also takes us inside the collaborative process with Shooter Jennings, Bob Wayne, and the musicians who bring these records to life. He describes watching players hear a song, make a chart, and begin shaping the music almost immediately — and how their individual choices can transform the emotional meaning of something he originally wrote alone. Ultimately, this is a conversation about creative second acts. James reflects on finding a new artistic path later in life, writing from personal experience, creating his own record label, and why he believes artists should look for ways to retain control of their work. For someone who spent much of his career bringing other people’s stories to life, songwriting has become an opportunity to finally tell his own. Key Takeaways • James Woods has written more than 75 songs and describes songwriting as an unexpected creative outpouring that emerged later in his life. • He sees a fundamental difference between acting and songwriting: acting is interpretive, while songwriting allows him to originate the words, ideas, and perspective himself. • His collaboration with Shooter Jennings began during the COVID era and eventually expanded to include Bob Wayne, with whom Woods developed an unusually fast and productive writing partnership. • Concept albums have become central to Woods’ approach. Rather than treating songs as isolated pieces, he likes creating records connected by characters, ideas, imagery, and narrative themes. • The Killer’s Wife grew from an experience Woods had as a young man, but he transformed that memory into a fictional narrative rather than attempting to document the actual people involved. • Woods places enormous value on the contributions of musicians in the studio, describing how players such as Aubrey Richmond, Jamie Douglass, John Schreffler Jr., and Ted Russell Kamp can dramatically reshape a song through instinctive musical choices. • Woods views this period as a creative second act and hopes his independent approach to making and releasing music can encourage other artists to find ways to maintain greater control of their work. Music from the Episode Song - Artist About the Podcast The Bandwich Tapes is a podcast about music, the people who make it, and the experiences that shape a creative life. Hosted by musician Brad Williams, the show features conversations with artists, songwriters, producers, composers, and other music professionals about their careers, creative processes, collaborations, influences, and the craft behind their work. Connect with the Show Questions, comments, or guest suggestions? contact@thebandwichtapes.com

On this episode of The Bandwich Tapes, I sit down with South Carolina country artist Kile Antone for a conversation about music, songwriting, faith, identity, and finding your way back to something you thought you had left behind. Kile’s path to country music has been anything but conventional. He began playing guitar as a teenager, but life eventually took him into law enforcement, ministry, and work as a paramedic. For nearly 30 years, he rarely performed country music in public. Then, a few years ago, he walked into an open mic with his guitar, so nervous he was physically shaking, and sang a few songs. That night started a new chapter. We spend a lot of time talking about how those years away from the stage now inform Kile’s songwriting. His song “Drink Some More” grew from a late-night message from someone going through a difficult moment and Kile’s own memories of growing up in a home affected by alcoholism and violence. We talk about protecting the people behind a song while still preserving its emotional truth, why a song doesn’t have to follow a prescribed structure, and how country music can say an enormous amount with very little. The conversation also moves into more personal territory as Kile talks about separating who he is from the roles he has occupied throughout his life. He shares a powerful story about being asked by a counselor, “Who is Kile Antone?” and realizing that pastor, police officer, and paramedic were answers to what he did—not who he was. That leads us into a discussion about music as a place where he can simply be himself, and about how age and perspective can change the reasons we make music in the first place. We also talk about performing solo versus playing with a band, learning to read a room, his Open Range Band and Stormfront Band, and the new opportunities that have emerged through his friendship and work with country artist Leon Everett. Kile also shares what’s ahead, including his first album, original songs, a duet with Leon Everett, and his recording of George Strait’s “Christmas Cookies.” Key Takeaways • Kile returned to performing country music after nearly 30 years away from the public stage, beginning with three songs at a local open mic. • His experiences in law enforcement, ministry, and emergency medicine have given him a deep reservoir of real-life stories and emotions to draw from as a songwriter. • “Drink Some More” was written in roughly 30 minutes after Kile received a late-night message from someone dealing with the consequences of alcohol and conflict. • Kile believes in protecting the identities of the people who inspire his songs while remaining faithful to the emotional truth of their stories. • His unconventional journey back to music has become as much about rediscovering his identity as it is about building a career. • Performing has given Kile an outlet separate from the weight and responsibility that have accompanied much of his professional life. • His growing musical career includes solo performances, the Open Range Band, Kile Antone and the Stormfront Band, recordings with Leon Everett, and work toward his first full album. Music from the Episode Drink Some More - Kile Antone   About the Podcast The Bandwich Tapes is a podcast about the people who make music and the experiences that shape the way they make it. I sit down with musicians, songwriters, producers, engineers, and other creative people for conversations about craft, collaboration, careers, influences, and the stories behind the music. Connect with the Show Questions, comments, or guest suggestions?  Reach out at contact@thebandwichtapes.com.

On this episode of The Bandwich Tapes, I sit down with drummer and educator Nate Morton for a wide-ranging conversation about musicianship, preparation, versatility, listening, and the skills that build a career long after you leave the practice room. Nate is best known to many listeners as the drummer for NBC’s The Voice, a gig that requires him to move effortlessly between rock, pop, country, R&B, blues, and just about anything else that lands on the music stand. We talk about how a childhood filled with everything from KISS and Michael Jackson to George Clinton, the Beatles, the O’Jays, the Temptations, Barry White, and Booker T. & the M.G.’s helped build that musical vocabulary. Nate explains why his goal was never to become the “rock guy” or the “jazz guy.” He wanted to become the always-employed guy. But much of our conversation is about what happens beyond the notes. Nate and I dig into preparation, organization, punctuality, adaptability, and musicians' responsibility to the people around them. He shares lessons from his time at Berklee College of Music, including the realization that learning what not to play can be just as important as developing the ability to play. A story about watching Abraham Laboriel Jr. take a four-bar solo becomes a lesson in confidence, restraint, and musical maturity. We also delve deeply into the relationship among drums, bass, singers, and the rest of the band. Nate explains how he adjusts his playing to different vocalists, why listening matters more than showing off, and how his relationship with bassist Sasha Krivtsov on The Voice allows the rhythm section to constantly react and adapt to one another. His philosophy is simple: the band only sounds good when everyone sounds good. Along the way, we talk about teaching, technology, learning music before everything was a click away, the value of relationships, and why small interactions can have an enormous impact on another musician. This one became much more than a conversation about drumming. It’s about professionalism, curiosity, generosity, and what it actually takes to build a life in music. Key Takeaways Preparation extends far beyond practicing your instrument. Being on time, organized, dependable, adaptable, and respectful of other people’s time can be as important to a career as technical ability. Versatility creates opportunity. Nate intentionally developed enough vocabulary across multiple styles to walk into different musical situations comfortably. His goal was to become the “always-employed guy.” Listening is one of the most important skills on the bandstand. Whether working with a singer, bassist, guitarist, or an entire ensemble, Nate constantly adjusts his playing according to what everyone else is doing. Great musicians know when not to play. Nate’s story about Abraham Laboriel Jr. at Berklee illustrates how confidence and restraint can communicate more than filling every available space. Adaptability matters more than perfect circumstances. From forgotten floor tom legs to unfamiliar backline setups, Nate learned that sometimes you simply have to “sit down and make music.” Music school can give you tools, but the real world teaches you where to use them. Berklee gave Nate technical vocabulary and a safe environment to make mistakes, while professional gigs taught him context, restraint, and musical judgment. Relationships matter. Nate sees genuine human interaction as one of the central principles of both his career and his life, whether he is working with another musician, teaching a student, or answering a question from someone who reaches out online. Music from the Episode I Think I Just Said That - Fraud Prophets Scrubs - Fraud Prophets Homer's Journey - Fraud Prophets Moths and Mosquitoes - Fraud Prophets About the Podcast The Bandwich Tapes is a podcast about the people who make music and the experiences that shape them. I sit down with musicians, songwriters, producers, engineers, and other creative people for thoughtful conversations about craft, collaboration, careers, influences, and the realities of making music. The goal is simple: get beyond the résumé and talk about how music actually gets made. Connect with the Show Questions, comments, guest suggestions, or just want to say hello? contact@thebandwichtapes.com

On this episode of The Bandwich Tapes, I sit down with legendary drummer Joey Baron for one of the most thoughtful conversations I’ve ever had about what it truly means to make music. Rather than talking about chops or technique, Joey takes us deep into the ideas of touch, tone, sound production, and why a musician’s relationship with space is just as important as the notes they choose to play. We explore Joey’s remarkable career, from growing up in Richmond, Virginia, to studying briefly at Berklee before learning on the bandstand alongside musicians like Joe Lovano and John Scofield. He shares stories about playing with Carmen McRae, Bill Frisell, John Abercrombie, Jim Hall, David Bowie, Laurie Anderson, Brian Eno, Steve Kuhn, and many more, but what emerges isn’t a collection of famous names. It’s a philosophy of listening deeply and serving the music above everything else. Our conversation also dives into the pursuit of personal sound. Joey explains how losing all of his cymbals early in his career unexpectedly changed the way he thought about instruments, leading him to focus less on equipment and more on touch, tone, and expression. Along the way, we discuss why great musicians sound like themselves regardless of the instrument they’re playing, why the best artists never waste notes, and how silence can often communicate more than virtuosity. It’s a conversation about listening, not just to music, but to people, spaces, and the world around us—and why that kind of attention remains one of the greatest gifts a musician can develop. Key Takeaways Joey explains why touch and sound production matter more than technical ability or expensive instruments. We discuss how tuning drums is influenced by the acoustics of each performance space rather than fixed settings. Joey shares lessons learned from artists including Carmen McRae, Jim Hall, John Abercrombie, Steve Kuhn, Bill Frisell, David Bowie, Brian Eno, and Laurie Anderson. Losing his cymbals early in his career forced him to rethink his relationship with equipment and focus on creating sound from whatever instruments were available. Joey reflects on why great musicians never waste notes and how silence is often one of music’s most powerful tools. We explore the value of musical curiosity beyond genres and why listening broadly shaped his artistic voice. Joey discusses his current work in Europe and why creating music that genuinely moves people remains his guiding purpose. Music from the Episode Faith in You - Marc Johnson You Bet - John Scofield Just You, Just Me - Joey Baron & MixMonk Outside - David Bowie About the Podcast The Bandwich Tapes is a long-form interview podcast where I sit down with musicians, composers, producers, and music industry veterans to explore the creative decisions that shape great music. Together we dig into artistry, collaboration, musical philosophy, and the experiences that define a lifetime of making music. Connect with the Show Email: contact@thebandwichtapes.com

On this episode of The Bandwich Tapes, I sit down with acclaimed percussionist Joby Burgess for a fascinating conversation about life as one of the world’s most in-demand recording musicians. From film scores and orchestral performances to contemporary classical music and solo projects, Joby shares what it really means to build a career grounded in versatility, collaboration, and an endless curiosity about sound. We talk about the unique challenges of being a modern percussionist, where every project might require a completely different set of instruments, techniques, and musical vocabulary. Joby explains how he prepares for sessions, why he thinks of collections of percussion instruments as a single musical voice, and how years of experience have taught him to focus on melody, phrasing, and storytelling rather than simply striking objects. Our conversation also explores the creative process behind recording major film scores, including his work with Ludwig Göransson on The Odyssey. Joby offers a rare behind-the-scenes look at how composers, producers, engineers, and percussionists collaborate to discover sounds that often don’t yet exist. From bringing collections of gongs into the studio to improvising solutions with whatever objects are nearby, every recording session becomes an exercise in creative problem-solving. Along the way, we revisit the music that shaped Joby’s artistic path, including Stravinsky, Frank Zappa, Edgard Varèse, and contemporary composers such as Steve Reich and Morton Feldman. It’s a conversation about listening deeply, embracing collaboration, and discovering that a great percussionist is often as much a musical problem solver as a performer. Key Takeaways Joby explains how modern percussionists constantly shift between instruments while maintaining a single musical voice. We discuss the similarities between performing contemporary classical music and recording major Hollywood film scores. Joby shares how collaboration with composers often begins long before recording, helping shape the palette of sounds available for a project. He offers behind-the-scenes insight into recording The Odyssey with Ludwig Göransson and the creative process of finding the perfect percussion sounds. We explore the influence of Frank Zappa, Stravinsky, Edgard Varèse, Steve Reich, and other composers on Joby’s musical development. Joby reflects on why experience, adaptability, and problem-solving have become some of the most valuable skills in his career. We discuss the importance of learning from master musicians and why observing great players can be as valuable as formal instruction. Music from the Episode Psappha (Iannis Xenakis) - Joby Burgess, percussion The King of Denmark (Morton Feldman) - Joby Burgess, percussion Troy, from The Odyssey (Ludwig Göransson) - Joby Burgess, percussion Concerto for Bass Drum and Orchestra (Gabriel Prokofiev) - Joby Burgess, percussion About the Podcast The Bandwich Tapes is a long-form interview podcast where I sit down with musicians, composers, producers, and music industry veterans to explore the stories behind their careers, creative process, collaborations, and musical philosophy. Every episode goes beyond biography to examine how great music is actually made. Connect with the Show Email: contact@thebandwichtapes.com