T – In general most artists loathe being classified. What are your feelings on this subject?
FR – If it helps people, gets them to buy the album or come to shows, then so be it. They may just discover something they didn’t bargain for.
Cary Moss – Categories and classifications often times come before the listening through of a body of work has happened; a desire to pigeon-hole and file into a box often takes the place of giving ear to. Lyric and music are placed in the “sounds like box” if the content and tenor of the piece moves
into ideas not shared or experienced by the listener such as chaos, surrealism or rebellion, personal or otherwise– a quick grouping will take place and then we are classified. To counter point this there are happily enough people who will give an ear because of the tenor and content; it’s natural for people to compare– but give a listen anyway– “find out for yourselves.”
BH – You’re right, I do loathe being classified. On the other hand, I understand the need for the music biz to do so.
Matt Pearson - People are going to classify you anyway so I don’t see the point in spending time or energy rallying against it. If classification helps the audience, (or potential audience), understand your musical intent, I don’t see it as a bad thing.
T – Tell us how the new album came together?
Art Goethals - The album originally came together as a recording we attempted to make while rehearsing in a classroom at a school I used to be a teacher. We tried to record these songs there, but we ran into a few technical difficulties and had to scrap the homemade approach. Instead, Bill did the legwork and shopped around for a studio that fit our budget.
FR – I did album cover design and a lot of the photography. Does that count?
CM – Turning each song into a finished concept was like grooming a tiger. Just because it’s purring right now doesn’t mean it’s not going to take a hunk out of you the next minute. I wrestled with word placement and different deliveries almost as much as Bill wrestled with recording problems, some easy some mean.
BH – We wrote the album from jams basically. We do all our writing this way. When we find something that everybody seems to like, then the work comes in. I enjoy the first time we actually find something to latch onto the best. One song was written before I came into the band, “Drug of Sleep”.
MP – Well, it took a lot longer then we anticipated that’s for sure. When we started I had hair and no children. Now, I have children and a lot less hair. I must say it really was a team effort with the roles changing and different people stepping up as needed. Bill really worked his ass off to get the thing done. He’d be the first to say it wasn’t easy, but I think he’s overall happy with the outcome. Given the amount of time that it took to complete, people’s ability to contribute varied considerably based on their other life responsibilities. If one of us wasn’t able to make it to the studio for a couple weeks, we made sure someone else was there, just to try and keep Bill sane. He shouldered most of the responsibility and didn’t get a break for the duration. We survived and are stronger for it. Hopefully the next one won’t take nearly as long.

T – “Wagon Wheels” is a stunner…for me it reaches the place where pop and complex art music meet, something usually only obtained by artists like Peter Gabriel. Can you talk a bit how this song was written? Do you consider this the first “single” off the new album?
CM – “Wagon Wheels” was a rant, slow to start, and then a loud revolt. I never thought of it as a single, more of a liver performer for changing the mood around.
AG – That’s a great compliment, thanks. I don’t think we consciously strive to create any particular kind of music when we write songs. Basically, we sit at rehearsal and feed off of one another. The most important aspect of the writing process is listening to each other and playing off of one another’s contributions. If Matt starts playing something on his bass, the rest of us will follow. If Cary finds a groove within that, we know we’re onto something. Once Cary’s on board, we all feed off of his energy. Cary seems to be really driven by rhythm and I especially like to use Cary as a musical compass.
BH – Thanks, no I don’t believe we would consider this a single, “Doubt” or “God’s Left Shoulder” would more then likely fall into that category. “Wagon Wheels” came out of a very long jam. The verse section was written first. Next the chorus and middle section. The intro is basically part of the middle section. We came up with the clavinet part in the studio. After we recorded “Wagon” it seemed to be missing something. I asked one of our engineers Devin Thomas, who by the way is an exceptional keyboard player, to come up with something. The clavinet sound seemed to blend well with the guitar sound I was getting.
MP – I don’t think we have a first single, but it’s encouraging to hear that you do. If memory serves, “Wagon Wheels” came about as most of songs do with us starting with a riff and building from there. Again, if my failing memory is correct, it came together rather quickly, at least the core of it, and it has continued to evolve. It is one of those songs that continues to change. Live it never ends up in same place twice. There are places in it where we can expand or shorten as Cary’s mood demands. Personally, that drives me crazy, but it seems to work in this instance.

T – Do you guys have your sights set on a national tour? How about a trip overseas?
FR – Nothing would be better. Our live show has a really high level of intensity, both emotionally and sonically. We’re concentrating on a local following first and hopefully we’ll venture out past Los Angeles soon. We’re really lucky because there are so many cities and venues close to us in Southern California.
CM -Yes! About the trip overseas, tickets, please.
AG – Right now we have our sights set on The Mint on September 28. After that, we know we need to continue playing live as much as possible. Hopefully, the opportunities to tour will present themselves.
BH – Yeah, we would all love to tour. We’re looking into it.
MP – We would love nothing more than to tour in support of this album, especially since I think we really excel in a live setting. International exposure would be even better. All we have to do now is find the money or the means to do it.

T – Many of the songs on the new album lend themselves to radio play. Do you imagine that you’ll be able to break on to the airwaves?
FR – I don’t think we have enough money to get our music played on the radio. Besides, I don’t know anyone at Clear Channel. They decide what gets played, right?
AG – I believe we do have “radio friendly” songs on the album. The question remains without massive corporate support how does one break through the Clear Channel monopoly on the airwaves?
BH – Not really, I think Clear Channel has taken care of that.
MP – Its great to hear you say that. I know when we were writing and recording the album we noticed that our songs tend toward the long side of things, which is amazing given the size of our collective attention span. I think there was a brief discussion to see if we should consider shortening any of them in an effort to be more radio friendly. We decided unanimously on, “hell no” We’re not about to sacrifice the integrity of a song just to get it on the air. Plus, we don’t have the money to buy our way into heavy rotation.

T – What does the inclusion of Fred Raimondi, who has attended one of Robert Fripp’s guitar craft courses, bring to the table?
AG – The addition of Fred has allowed us to play live shows again. After finishing the album, we realized we couldn’t play live shows without a second guitarist and God sent us Fred. It’s also pretty nice to swim in his pool on hot days after rehearsals.
BH – We needed an Italian in the group. You know I hear The Sopranos are really hot right now.
MP – His style really compliments Bill’s playing. Fred and Bill have played together in the past so they know how each other operates. And since neither one is opinionated or headstrong, they very rarely have a reason to disagree. It’s high entertainment value for sure.

T – Cary, Art, and Matt, you guys kind of came up together in the LA club scene. What was your experience in that jungle?
AG – Matt has the best stories about the LA club scene. Matt and I played for a time in a band together around the club scene, but I decided to go to college and was kicked out of the band before they had any success.
MP – While it true we all have done time in the LA club scene, I’d venture to say that our experiences have been rather different from one another. Art and I started playing together when we were in high school. At one point my fellow Glam-band mates and I decided he had to be kicked out of the band because he wanted to go to college, and he wore a watch; both really solid reasons to kick someone out of a band. Anyway, while I continued on in the pseudo-metal, Glam scene, Art got smart and joined a host of bands that gigged regularly and had decent followings; and he really stretched himself musically. All the while I was falling into the Hollywood trappings that go along with believing your own hype. Needless to say, Art matured musically much faster than I did. In terms of Cary’s club experiences, I think they’re somewhere in between the two, somewhere between stretching himself musically and believing the hype. I can say that we all have a healthy disrespect for whinny primadonnas. I should know I used to be one, maybe I still am, I don’t know.

T – Who are your major influences as individual musicians, and why?
FR – Jeez that’s a hard one. Like so many others, seeing the Beatles on TV got me started with music and I’ve been doing it ever since. My early influences were Glen Campbell, Johnny Cash, and a lot of R&B. My dad was always playing the Temptations and the Supremes. I go through phases,
but I love progressive rock. All the usual suspects, Yes, ELP, King Crimson, Genesis, Gentle Giant, Kansas, Rush, Thin Lizzy, XTC. Even a lot of the “newer” Progressive bands like Glasshammer and Spock’s Beard. Steve Howe really blew doors open for me musically. When I first heard “Close to the Edge” I said to myself, “I gotta try this!” I discovered Jazz in college and Al DiMeola became my guru. Chick Corea, he’s an awesome composer. Later on it was Satriani and Vai, although I’ve been listening to Vai from his first solo album “Flexible” which he recorded on a Fostex 4 track (that was probably 1983). Mike Keneally too. When I heard his album “Half Alive in Hollywood” I was blown away.
I’ve had some really good teachers too. Ken Navarro (I studied with him before he was famous) really taught me a lot about Classical, Jazz and BeBop, and there was this guy I studied with in New Jersey that really opened my eyes to a lot of Jazz. Of course, Robert Fripp. I try to learn a little something from everybody I either play with or listen to. Right now I have Deadsy, “Commencement”, Explorers Club, “Raising the Mammoth”, and the audio book, Raymond Chandler’s “Farewell My Lovely” in
my CD player.
AG – To a kid who picked up the drums in the late seventies there is only one influence, John Bonham.
BH – Growing up I had so many influences. Jaco, Duane Allman, Andre Segovia, Wes Montgomery, Leslie West to name a very few. Oh yeah, Mr. Fripp and Mr. Belew’s 80s period seemed to come at the right time to effect my playing in leaps and bounds.
MP – Someone once told me the highest compliment you can get as a bass player is to have them say they didn’t notice your playing in a song. I tend to gravitate toward players that support a song; they play exactly what is needed, nothing more, and nothing less. Adam Clayton, Jeff Ament, and Robert DeLeo come to mind immediately as influences. I grew up listening to Overend Watts, Gene Simmons and much later, John Taylor. I don’t think John Taylor ever got the credit he deserved for his playing.

T – What are some other current bands and artists that you admire?
FR – I really like Frank Black and the Catholics, Sam Phillips, Dave Navarro’s solo album “Trust No One”, is friggin’ great, Marc Bonilla. Really, anyone that has the desire and push to get off their ass, make music and try to get an audience. I admire anyone who has the balls to give it a shot.
BH – Radiohead, Moby, Beth Orton. I’m really grooving on The Hives, “ Hate to Say I told you So”, sounds very Stooges. The rest of the album doesn’t thrill me though.
MP - I’m a big fan of songs, so often times I’ll get interested in a particular song before I get into the artist. It could and often does turn out that I don’t particularly care for everything that a group does, but if I get hooked by the song, I’m in. If we’re talking about doing that “What’s in my CD player right now”, game, I’d have to cop to: Brad, Grant Lee Buffalo, Filter, Dire Straits, U2 (a really cool live bootleg called “Outside Broadcast”) and Radiohead.

T – How would you describe your personal sound as a musician? How has it evolved over the years?
FR – I don’t really have one, although I’m starting to see the light with tube amps. I’m a real tech head. For years I played the same guitar, (73 Les Paul that I bought in High School) and have always been
attracted to doing more with the guitar than most garden variety plug and play guys. I’ve always liked echo chambers, effects boxes and whatever else I could get my hands on to modify the sound. When I did, “The Apostle of Reality”, I had one sound that I really liked that one is the thread pretty much through the whole record. But I also experimented a lot. I played a Parker Fly on that whole album and the Piezo pickup really gave me another place to go sonically. Since I have to use such a variety of sounds with BTM I have been using amplifier and guitar modeling live and also guitar synth. It’s pretty
new for me. This way, I can switch from an acoustic sound to a crunchy lead to a grand piano all in the course of one show. I’m like a Ritalin kid. I have to be kept very busy all the time. The more I have to do the better. It’s so much fun!
BH – I don’t know if I have a personal sound as much as have a desire to make the sound that I create fit a piece of music.
MP – I’m continually looking for ways to refine my sound. I used to be much more of a plug-and-go player, but now I’m very aware of my sound and how it affects each song. I’m still learning that subtle differences like hand position and attack can create huge variations in tone and feel. Overall, I of course want it all; bottom end that moves your insides and enough clarity and definition to claw out a spot in the midst of the wall of guitar that Bill and Fred create.

T – How did Bill and Fred end up hooking up with Art, Cary, and Matt?
FR – I’ve known Bill for over 20 years. We played in bands in New York and New Jersey. We had also done a pretty cool ambient project called “Space” which we really still like and may put out. Bill had been working with BTM for a long time (I had heard their EP which was the genesis of the current album and thought it was really great, especially Firefly) and one day he asked me if I wanted to give it a shot with the band. Being in a band is hard work and I thought that I could commit the time. I had just finished “The Apostle of Reality” and I thought, “all things happen for a reason, its time to try something new”. It happened really simply. Bill ran me through the tunes and we started playing
acoustic in Bill’s garage and it was pretty magical. I’m really fond of those early sessions. I was reconnecting with other players and the music was just so friggin’ great. I had never worked with a singer as good as Cary, so I was pretty hooked. I was really worried that the other guys weren’t going to like me or what I was bringing to the party, but here we are almost 2 years later, pretty exciting.
AG – Cary, Matt, and I played in a band together for a couple of years and when that band broke up, I started playing in another band with Bill. When the singer of that band had throat surgery, I realized Bill would be the perfect guitarist to work with Cary, Matt and myself.
BH – Art and I hooked up in a band called “Baseline Therms”. Art played with Matt and Cary in another band at the same time. When the “Therms” broke up Art asked me to sit in with Matt and Cary.
Fred and I were in a band way back when called “Stereo” back in New Jersey. After the album was finished I asked Fred to sit in with us for some acoustic sets. We never got to the acoustic sets.

T – Compare and contrast the LA club scene with the NY club scene.
BH – NY club scene was tough physically and musically. Clubs were either down in basement or up flights of stairs. If your keyboard player owned a B3 you were in the hospital for a week. Most of the time you loaded your equipment through the front door. The parking situation was awful. The music seemed to be a little edgier. LA seems more laid back with nice back entrances, love those back entrances.

T – How does the Studio BTM differ from the Live BTM in sound and approach?
CM – The live BTM is much more fun.
AG – I don’t see a huge difference between studio BTM and live BTM. I suppose we’re more spontaneous live than in the studio. Bill can’t have as much control over us when we play live. Just kidding, Bill.
BH -We made a decision to use everything we could to make a good studio album. All the arrangements were geared for the studio; all the sounds were geared for the studio. We added keyboards and percussion. Used a bit more acoustic instruments. Live is a different animal. We don’t feel the need to reproduce the sound of the album in our live show.

T – Beyond the obvious, what do each of you define as your role in the band?
FR – That’s a hard one. We all have so many roles that we play. Musically, I try to fill in the cracks and I like to bring something less “guitaristic” to the table whenever it seems appropriate. Much more
so on the new material, which we’re playing live but haven’t recorded (officially) yet. Since we do EVERYTHING ourselves, I’m pretty responsible for the visual/graphic/photographic/web face of the band. Because of my experience in visuals it comes really easily, its fun, and it’s for the greater good. It also saves a ton of money.
CM – I’m the singer and smart-ass surrealist.
BH – I tell everybody what to do. Then I tell them not to do it. Then I tell them to do it again. You know, “confusion will be my epitaph.” I heard that on an old Telly Savalas album called “Telly’s in the Crimson Court”. Out-of-print I believe.
AG – I feel that my role is to be like luke warm water between the fire and ice of Cary and Bill.
MP – I am the voice of melody-loving, accessible songs that need to be heard by as many people as possible in the largest venues possible. I am the one most likely to be accused of being a sell out (and that’s by my band mates).

T – What were the greatest challenges in creating the debut album?
CM – Finishing.
AG – Once we were in the studio, the instrumental tracks went down quickly because we knew our budget was limited and had rehearsed the songs we knew we wanted to record. After that the challenge was to decide when enough was enough and just end the process.
BH – Finishing it. I enjoyed the process to a point. Then it seemed to drag on for much too long.
MP – Too much time, not enough money. By the time we were done we had so much new material, and had lived with the debut album material for so long, we were ready to move on and record another album. We had to (have to) keep reminding ourselves that people haven’t even had a chance to hear the old stuff, let alone the new stuff we are really excited about.

T – At the end of the day, as you look back at what you have created with the debut album, has the mission been accomplished?
AG – I feel the mission has been accomplished that the album does a represent the sound of BTM, at least at this point in time. After many starts and stops it was extremely gratifying to finally see this project through from beginning to end.
BH – More then accomplished. I’m so happy with the results. I really didn’t think we could achieve what we did on such a small budget. This is definitely the best music I ever created in the studio.

T – I’ve had a chance to listen only to “Wagon Wheels” in its entirety, and :30-second snippets of each of the other songs so forgive me if I haven’t been able to put a finger on the overall theme of the album. Did you guys try to employ a consistent theme or structure to the “sound” of the album?
BH – We demoed all the songs and found that the overall different styles of each song fit together surprisingly well. I was worried that the sound of the album would be all over the map. I think Cary has a lot to do with this. Cary seems to be able to take any style and make it his own. We also worked very hard to make it come together for Cary. If the singer ain’t feeling it, dump it.

T – For a band that has just put out their debut album, even though they’ve worked in the business and as musicians for many years, what are the major challenges of getting the album to be heard, broadening your audience, catching new listeners? Is it radio? Is it live buzz? What is your marketing approach?
AG – Playing in and around the LA area there are so many bands and so many struggling musicians, how do you make yourself stand out? I have never had more confidence that the music will speak for itself. No matter how much hype or buzz you create, you still have to have product and I think we have it with this album and all of the new material we’ve been writing.
BH – Well, we’re going to try as many avenues as possible. We don’t have the money to get on radio at the moment. The Internet opens up a whole slew of possibilities and we’re looking into everything. I think we’re on our way to getting a live buzz which I prefer anyway. LA can be a very jaded town so sometimes it’s tough to get audiences to come out. The, “I’ve seen it all”, syndrome.

T – Bill, you paid your dues early on as an orchestra pit bass player for off-Broadway musicals in the late 70s. Have the nightmares stopped? We kid…how was that?
BH – It was a great experience to do that while I was still in High School. My High School music teacher was a conductor for local and traveling musicals and off-Broadway musicals. I was a bass player at the time and too young to be in the union, so he paid me off the books. The unions won’t read this will they?

T – Bill, you also spent time with “Beggars and Thieves” a band signed to Atlantic Records. What was your experience in that setting?
BH – That was 1987 and 1988. Joey DeFranco of “The Good Rats”set me up with an audition in NYC. Joey was the drummer for Beggars & Thieves at that point. Joey left and we got another drummer. We played the NY club scene and got signed to Atlantic. Before you know it, the drummer and I were let go. Later I found out that they weren’t looking for partners. They didn’t want to split things 4 ways.

T – For a time, Bill, you worked as a commercial jingle writer. Anything we would remember? Your bio says that experience almost ruined your passion for music pretty drastic, can you expand on that?
BH – From about 1990 to 1994 I worked for an agency that booked jingles. National Geographic, Playboy Channel and corporate stuff. You know things like that. After awhile it felt like I was on a conveyer belt. Financially rewarding but musically depleting.

T – Bill you now work for DGM. How long have you been there and what has your experience been working there? What’s the environment? What exactly do you do?
BH – I’ve worked for DGM since 1998. I work in the LA office and the experience has been great. I’ve learned much about the music business and the DGM team is wonderful. We all do a little bit of everything. I know that sound vague but it’s true. If we need to get advertising for Bruford we all chip in. If we need to get T- shirts to a specific place on a tour, we all chip in. We have a very small staff.

T – Cary, Art and Matt, you have no biographical information up on your web site! Can you each expand on your experience and history as musicians?
MP – My musical history started with my sister who constantly played Beatles albums 24 hours a day, 7 days a week. She really got me into music at an early age. I had a couple of guitar lessons growing up, but I never really took to it. One day I walked into a music store and heard a guy playing bass through a huge Fender setup. It was shaking the building. It was at that point I said, ”I want to do that.” “ I want to play bass and shake buildings” Art and I began playing together in our early High School days. He was a good drummer despite the fact that he had short hair. We formed a band and started playing a couple weeks later. We’d play Circle Jerks, Fear, and Sex Pistols songs. Thing was we only knew two or three songs, but we’d agree to play parties for beer. The guys throwing the party didn’t know we only knew three songs so they’d agree to have us play. During our first song we had one of our friend’s go inside and call the Police, reporting a loud party. The cops would show up about the middle of our third songs and shut us down. We spent the rest of the night drinking free beer and hanging out with the beautiful people. We got a reputation, as being a badass band since the Police would always show up to close us down. From there we went on to evolve (if you want to call it that) into a Glam rock band. A diet heavy in Mott the Hoople, New York Dolls and T Rex filled us with enough confidence to start writing our own material. We started playing local parties, followed by clubs in and around the Pasadena area; finally making our way to Hollywood. At one point we kicked Art out of the band for going to college and for wearing a watch. With a new and improved more-Glam, less-preppy drummer in place we soon fell into all the trappings that go with being an image-is-everything band in Hollywood. While I believe we were breaking new ground at the time–or at least revisiting ground that hadn’t seen any significant action for awhile we were quickly surrounded and surpassed by bands that were either better than us, or willing to do more to make it happen for themselves (did I say sellout?). Bands like Poison and Guns and Roses went from opening for us to blowing us out of the water on every front. The bottom-line as I see it now simply comes down to the fact that we didn’t have the product to support the hype. Our lack of success lead to the eventual break up of that band. Art and I started playing together again and we eventually hooked up with Cary, then Bill and finally Fred (that only took 10 years or so). The rest remains to be seen.

T – Fred, you have a solo album out, “The Apostle of Reality.” How does your solo work differ with your work with BTM?
FR – BTM is a band project. We write as a band, we do everything as a band. The music is our connection. It’s more of a collective experience. The music revolves around the vocals for the most part. Although there are instrumental breaks in the BTM songs, there are no pure instrumental
tunes. (yet)
My solo work is VERY different than anything I think BTM would do (but anything is possible with this band). Mostly instrumental guitar pieces, the solo work is a way for me to explore other musical influences I have that might not fit in within the BTM scheme. “The Apostle of Reality” is
a guitar album pure and simple. Guitar a little left of center mind you. It would appeal to progressive/guitar fans for sure, and that is my market. I’m very aware of that. It keeps me sane. I know that I’ll do many more Fred Raimondi albums, the question is when. Right now BTM is my main priority and that is where my musical center resides. I think the solo thing is really healthy though. Most musicians have more to offer than what they do with a band or a band’s identity. Look at Charlie Watts – he’s a straight-ahead jazz drummer outside of the Rolling Stones!

T – Fred, on your solo album you create what you consider “walls of guitars”, can you expand on that?
FR – It was something I discovered while I was recording the album. I have always been a Brian May fan and was intrigued with what he did guitartistily. He seemed to create these huge guitar washes. When I was doing “The Apostle of Reality” I would start doing the same thing albeit very different than what he used to do. Take a listen to “Tribute to Satchula” especially the middle 8 section. (the blurb on the web site). Very layered and much more like an orchestral arrangement than a guitar arrangement. Same thing with “I Am the Walrus”. There’s a lot going on there too. I like doing that. The sum is bigger than the parts individually.

T – On your solo album you have recorded two covers; Jimmy Webb’s “Wichita Lineman” and “I Am the Walrus” by the Beatles. Where did you want to take these to pieces?
FR – “Wichita Lineman” has always been a favorite of mine. It’s a hell of an arrangement, to which I stayed pretty true. For years I had always heard these arpeggios over that tune and carried it around with me for a long time. I promised myself, when I recorded a solo album I’d do it that way, a lot heavier too. Kind of like Led Zeppelin meets Glen Campbell. I also wanted to put something a little more accessible to the average listener. It’s hard to get people who aren’t interested in guitar to
listen to a purely guitar album.
“Walrus” has also been a favorite of mine and I thought it would be cool to try to do the whole thing with just guitars. I had to do stuff like pitch the guitar down to get it to the cello range. When Bill and I
lived in NJ we used to play Walrus live and it was a real rush. It was so powerful. I wanted to recapture that power. Someday, maybe I’ll be able to talk the rest of the BTM into doing our own version.

T – Fred, How has Guitar Craft helped you grow as a musician?
FR – More than any other influence, Guitar Craft has helped me to grow as a musician. There were so many lessons I learned in Guitar Craft that were not only lessons that applied to music, but to life and across all phases of my life. Robert’s influence via Guitar Craft was, has been, and still is, a true inspiration. I could go on for hours about what I learned there. The lessons learned were more about what it is to be a musician and artist than actual hard core musical knowledge, although that was really valuable too.
Things like this: The life of an artist is a journey. It can take you many, many very cool places. That desire is just as important as talent. I think that was a really valuable lesson. I mean, on the first Guitar Craft course I was on, there were people that had barely picked up a guitar. By the end of the week though, they were playing in circle along with the rest of us. The idea of the present moment was a really big one.
I use the Guitar Craft aphorisms all the time to inspire and move the artists I work with. There’s a lot of good stuff there. I wish that more people could have been exposed to Guitar Craft the way I was. I feel
really fortunate to have been a part of Guitar Craft in its heyday.