By David Iozzia
Who is Joey Barnes? What does he play? Where in the world is he? Joey Barnes is a multi-instrumentalist and a singer/songwriter from Greensboro, North Carolina. Joey wrote 99 percent of the songs, and he handled just as much of the instrumentation and vocals, on three EPs he's released on Nascent Republic Records. Joey's "Always," "Last Request," and "Change" more than introduce a very talented musician. His EPs are must-listens if you are looking to hear something new, fresh, and diverse.
But where was Joey Barnes when he and I first chatted? He was working his "day job." Joey was on a tour bus, somewhere in North America in March 2010, and he was possibly traveling to your city to play a sold-out show in your favorite theatre or arena. Joey Barnes was the drummer for the rock band Daughtry, which of course is the band fronted by Chris Daughtry, the American Idol contestant from that show's Season 5.
In late April 2010, Chris Daughtry tweeted at his Twitter account that Joey Barnes is no longer drumming in Daughtry. Chris called it a friendly and mutual decision. Daughtry's management later confirmed Joey's departure with a statement posted at the official Daughtry website.
A musician's journey, just like yours and mine, can take many twists and turns. Joey Barnes and Chris Daughtry's musical and social paths crossed many times in Greensboro, whether at various battle of the bands, at tryouts for the reality television show "INXS-Rockstar," or at the local Honda automobile dealership that Chris used to work in. Joey would later join Daughtry and spend three very successful and very busy years touring and recording with that band.
So where was Joey Barnes in late June 2010 when he and I chatted again? At home in Greensboro, writing and recording and producing, as he takes the next steps forward in an incredible musical journey.
Dave: Why are you no longer drumming in Daughtry?
JOEY: Basically, I was let go. But I've seen that day coming for quite some time. I want to stress that I'm not the kind of guy who would quit in the middle of a tour. It wasn't an "I quit" situation. Even if it was, it's not my style to quit mid-tour. In my head, it wasn't a smart business decision. They should have let it play out. Once the tour was done, they could have made an announcement and given people time to get used to it. Instead, axing me mid-tour lets people think I bailed. I'm bombarded with crazy e-mails from fans that range from "you've ruined my idea of what a band should be" to "the reason I'm no longer drumming with Daughtry is because I'm not close to God." Yet it's not all about me. The rest of the band had to have somebody come in mid-tour to try to fill my spot. I'm not the best drummer in the world, but I had established my position in that band. What I did, I did very well.
Dave: What occurred during your tenure that led you to say that you'd seen the day coming?
JOEY: I like playing, but everything else about that gig was turning it into a "job." Nobody was happy anymore. It became all about smiling and making money, or doing whatever we could to make extra money. The hour and a half up on stage playing was what I signed up for. Playing was my sanctuary and even that wasn't fun anymore. I'm not one to pretend. Management wanted us to be salesmen and I'm not good at that. I'm a musical artist. I want to create and I want to perform. The gig drumming in Daughtry was turning into a non-creative situation. Within the first year of my stint, the upper echelon of business people didn't like the way I do or say things. They didn't like the wardrobe I'd wear on stage. For years I've had to endure the threat of calming down, or toning it down, or else. That contradicts what I'm about as an individual. Yet individuality has no place in the business market that we call music. Most bands out there are nothing more than a product and you have to sell the product. Each band has its own marketing points and sales points. Management likes to hone in on a band's strengths, magnify them, and push them to create sales. I have a hard time with that and I've always had a hard time dealing with authority. I'm not a bad dude; I'm actually a good person. But when it comes to political correctness, I have a hard time being told what to feel or what to say.
Dave: Was that the situation from day One?
JOEY: In the beginning, the first record was selling off the charts and Daughtry was making so much money. I guess they put up with me and kept everything going. We were touring like mad. It was fun and crazy. It was one big party. Once the momentum started slowing down and the second record came out, it slowly turned into a situation where management wanted us to be salesmen. The second Daughtry record isn't selling anything like the first. Management felt that the second record was failing from a commercial standards point of view. The Daughtry band couldn't mess around anymore. We had to put on a face and be somebody else because the old version from the first record wasn't working anymore.
Dave: When things run smooth, little problems get overlooked. Once the road gets bumpy, everything gets magnified.
JOEY: When the big-business chicken hawks are making their money and getting fat, anything goes. As soon as things die down, out comes the microscope. They hone in on those little things and start talking about what has to change. Who I am as a person wasn't fitting in with the ideal product. I was the Bobby Brown in New Edition. I wasn't what they wanted and I got terminated. Even when I signed aboard, I did not see myself in the band for more than five years. I love playing drums, but that's not what I want to do. Its part of what I want to do. I want to have full control over my own career and life. Creatively, I want the ability to do whatever I want.
Dave: As you look back, do you have any regrets?
JOEY: Playing in Daughtry was an experience. Music and life are just about experiences. The Daughtry gig was an experience that was offered and I would have done it for free. It was never about money. It was about traveling places I've never been and the stories that I could tell. It was five strangers trying to make something happen by playing music and having a good time. Then things got serious. It wasn't a creative situation. We were handed songs, told to learn the songs, and told we'd be lucky if we got to play on the next record. Money and fame drive people mad. The people you thought were your friends are the first to cut your throat when it comes to money and opportunity. Friendship and loyalty take a backseat, and basic things like values and honesty go out the window. It's a lonely business Dave, and I'm glad they terminated me.
Dave: As a musician who has toured nationally and internationally with a band that has averaged close to 200 concerts a year, what presented the bigger challenge? The two hours you spent on stage, or the other 22 hours in your day?
JOEY: The other! Musicians live for the moment onstage. That's what we signed up to do and that's what we love best. Waiting around all day is like pulling teeth. I get really antsy and eager once show time nears. Once you're up there and you get into it, time flies by. I have a lot of fun in those two hours, but it feels like only minutes have passed, and then the show is over. Then it's back on the bus, drive to the next town, and do it all over again. During the day, I'm usually bored out of my mind. I walk around the town or the local mall to bide time.
Dave: Is it safe to assume that you've done some of the songwriting for your three EPs while out on the road?
JOEY: Only a little bit. I have a decent memory and I like to file away musical ideas. Certain ones stick out more than others. That's part of the process that weeds out the good and bad ideas. The good ones and good melodies stick in my head. Every time I pick up a guitar or sit down at the piano, it's fresh. The ones that are stuck in the back of my mind are the ones worth remembering. When I get back from the road, I try to put them all down and try to make them happen.
Dave: The rock and roll highway is a bumpy road. A lot of younger musicians whom I've talked with, after seeing the musicians of the previous generations get caught up in all of the pitfalls and trouble being out on the road presents, call their laptop and cell phones their saving grace. Modern technologies allow and challenge musicians to be productive during all of the idle time when they're touring and possibly avoid the pitfalls.
JOEY: Actually, I didn't mind some of the pitfalls. They can be a lot of fun. I wasn't married with children like the rest of the guys in Daughtry. I kind of liked to find the pitfalls and check them out. I have a tendency to get bored quickly. Making demos is fun, but starting one will consume all of my time. I like to finish what I start and that would be almost impossible when I'm out on the road. I'd rather store my ideas until I'm back in the studio and I can do it right.
Dave: So despite the fact that the recording technology of the 21st century is affordable, portable, and transportable, you don't do any recording while out on the road with Daughtry?
JOEY: I have done a few things. There's probably only one thing that I've actually used once I got back home. Like I said before, out on the road it's pretty much playing a little guitar and having the song ideas in my head. I usually like to wander instead of work during the down time. The only technology I had with me was a Mac laptop computer. Sometimes on days off, we'd be in a hotel room, and I'd find myself helping some of the other guys with their projects instead of working on my own. They weren't afraid to ring my room so we could get together to create something new; something that captured the moment. The other guys in that band were good with the recording technologies and they liked to do it while they're traveling. For me, I can't force songs out. They just have to happen. If I get a good song idea and its good enough in my own mind, I'll remember it when I get back home.
Dave: Not knowing you personally, I was guessing that as a prolific songwriter, you'd be out there on the road filling all of your down time creating and recording your own music.
JOEY: I surprise myself with how much I can remember, especially with music in general, pop culture, and music trivia. But I learned early on that I work best when I'm in the comfort zone that the studio provides. I have to finish the things that I start. I can't see my musical ideas to fruition when I start them on the road. They'd only be demos that would haunt me and drive me mad until I get back. So I choose to wait until I'm back, making sure that I can get it done in a process that works for me.
Dave: Once you've written, recorded, and released your EPs, how much social networking do you do through websites like MySpace and Facebook to get your music heard?
JOEY: I do quite a bit when the time is right. When I'm home I also like to book interviews on the local news and local radio stations. My last EP was for charity and I wanted to get out there and promote it and try to do some good. People around here are very nice and very helpful about letting me do that. I also go to Greensboro College, where people from the music program let me come in and talk to the students about music in general. I guess being local, they give me a little extra special treatment if you will.
Dave: There's nothing wrong with spotlighting the "local kid done good."
JOEY: But there are a lot of bands around here that have earned and deserve extra face time. Obviously, a big part of the music business is who you know, and I was guilty by association. I tried to take advantage of that, and at the same time, do something good with it. It's all a means to an end, and so far things have been working out. One of these days I want to see the record label that I'm a part of with my friend Josh Seawell blow up big time and flourish. I want to see all of the artists on the label go out and tour, like a "Nascent Republic Galaxy to the Stars" tour. We'll travel the Americas old-school, in a van! Our goal is to build the label up and tour like you did back in the day. It's hard to book a tour these days. I think it's more attractive to management companies and booking agents when they have a whole product to sell. They're are not going to have one band to sell, they are going to have five bands. I know that's going to happen for Nascent Republic, but right now we're trying to build up the label. We'll get it out there. I can taste it and it's very exciting. Hopefully, by the end of 2010, I'll have either toured or played sporadic shows with the artist roster at Nascent Republic. The cool thing is that we're all multi- instrumentalists. Instead of hiring a band, we'll all play for each other and share the same equipment. We'll save money! I'd love to see that happen. I'm really interested in helping other musical artists because there is a lot of talent out there that needs to be seen or heard.
Dave: Good luck with that Joey. Going out on the road is that old-school approach of taking the music to the people. Social networking at MySpace and Facebook is the new-school approach, but a grainy YouTube video will never replace live performance in my book.
JOEY: Playing live is always going to be the true test to see what you've got.
Dave: As a listener, I only see the true passion and conviction on the live stage.
JOEY: It's a spot where we can connect to our audience. To some extent, you can connect with listeners via the Internet. Playing live is a way to turn casual listeners into passionate fans. It's where people can understand that what you're doing is for real.
Dave: Did the time and effort you spent creating your own music ever interfere with your "day job" in Daughtry?
JOEY: Not really, but it could have. I liked to separate one from the other as much as I could. I needed to save some of my energy for the individual moment. Like you said earlier Dave, drumming with Daughtry was my quote, unquote day job. When I was out on the road with that band, I had to focus on that. I had to do what I could, whether it was drums, keyboards, or singing, and perform to the best of my ability to support the band. When I got home, all of my energy was put into the other side of things. I'm pretty good at dividing the two, which is good. It was good for me to have both. Too much of any one thing would have driven me crazy. I needed those little breaks. For me, it was very therapeutic to come home and work on my own stuff, or to work on anything else that I wanted to, like other people's stuff. It was something different and I needed that. As you could imagine, being out on the road, playing show after show with the same setlist got kind of redundant. I needed those little breaks here and there.
Dave: You mentioned earlier that there was a charity component to your last EP.
JOEY: It all started a year and a half ago when I had the chance to travel to Uganda in Africa. It was an eye-opening experience to say the least. We visited schools and had a chance to see how the other half lives, or doesn't live. When I got back home, I had a lot of song ideas in my head. I wanted to give something back. It would have been cheating if I had a life-changing experience, like Africa, that spurned so many musical ideas, and not give something back. I was always active with the ONE Campaign. It was all I knew of at the time, but it's such a massive organization. I wanted to help but it was taking time to get from this person to this person. It should be simpler if I had songs that I wanted to donate to a charity. But I found that there were politics and that it wasn't that easy. In the mean time, I found out about an organization called Planetwize that Ben Harper was part of. It is lesser known and smaller than the ONE Campaign, but it's just as effective. Under the big bubble of Planetwize, there are smaller entities that you can hone in on and dedicate your money and time to. I chose to work with education and housing for kids. My affiliation is with NextAid, and part of the proceeds from sales of my current EP "Change" goes directly to NextAid.
Dave: I'll link your website and MySpace page so readers of this interview hopefully take the next step of linking there and giving you a listen. Until they get there, I'll describe your music as a diversified mix of hip-hop, pop, folk, and soft rock. How would you describe your solo music as you utilize this interview to entice my readers to check out your sound?
JOEY: I would say my music is for the open minded; it's for people who like all kinds of music. I know a lot of people say that. As human beings, our makeup is intricate and diverse. We're a complicated species. Musically speaking, I don't believe that one person can only like one style. If that's the case, it's very unhealthy! A musician's style should be able to offer a little something to everyone. Music listeners can learn a lot by listening to everything. Music breaks down cultural barriers. You learn about different people and their cultures by listening to different musical styles. I went to a music class at a local college, and we were having a discussion about one's top 10 songs from the last 50 years and why. There were differences from everyone's points of view. White students had different opinions than black students, yet the feeling, the passion, and what those songs meant to them are just the same. Music, regardless of style, is based upon feeling and moments and where you were in your life. Music is like a soundtrack to a time in your life. Having a diverse musical palette can only help you grow mentally. It helps you grasp the way other people see and hear things. Being from a musical family, music was around all of the time. I listened to the Beatles, Motown, funk, King Crimson, and Pink Floyd. I know this is a long answer to your question Dave, but I'm a bad salesman when it comes to talking about my music. I'd just prefer if people give it a shot and give it a chance. There are little parts of me in each song, and when they come together it's like Voltron or something. I love hip-hop, I love jazz, I love dance music, I love rock music, and I love cheesy pop. I'm all over the place. I'm not signed to a major label and I don't owe anybody anything. I don't have to be what the label wants me to be. I have the artistic freedom and ability to do whatever I want to do. So why not do just that? I just want to get my music out there and get respect. That's more important to me than fame or money. In the corporate part of the music industry, they have to sell a face and a product. Whether they like it or not, musicians in that setting are products. Whether the music is good or not, they are still a product. Fame is a double-edged sword where the music industry can dictate who they want the musician to be, and how they want them to sound. I don't have those worries. I want people who hear my music to get my music. Respect lasts a lot longer than fame.
Dave: After listening to your three EPs, I'm comfortable calling Joey Barnes eclectic. Are you comfortable being called that?
JOEY: Yes. It's tough to be a musician and not be labeled as something. I'd love nothing more than to not be labeled at all.
Dave: Your second EP, titled "Last Request," showcased your diverse musical range and influences. Was highlighting those different styles preconceived as you wrote and recorded the tracks?
JOEY: No. Over the past year, I spent a lot of time out on the road. Whenever we had a break and I had the chance to go home, I'd head right into the studio to knock out as many songs as I possibly could. There was no particular order or sound. There was no game plan. It was just to record the idea and get it out. I recorded almost 30 songs and I had no plan. When I had the opportunity to look back, I saw that I had a lot of different stuff. As I was thinking about what to do, certain songs went together with certain songs. Josh Seawall and I talked about it and releasing EPs made the most sense. Everything I've released so far is leading up to a full-length album. These EPs are the appetizer before the big meal.
Dave: On your first EP, titled "Always," you leaned to a soft rock sound, and the influence of the Beatles was very apparent. If you "always" have and "always" will be a Beatles fan, is the EP "Always" your subliminal tribute to the Beatles?
JOEY: Not intentionally. "Always" was a record of straight up melancholy pop songs. The Beatles are always somewhere in the mix with me. The songs on that record really gelled together.
Dave: I stole my next question from Uma Thurman's character in the film "Pulp Fiction." Have you ever seen that film?
JOEY: Only about a thousand times!
Dave: Her character was talking to John Travolta's character when she said, "There's two kinds of people in this world, Elvis people and Beatles people. Now Beatles people can like Elvis. And Elvis people can like the Beatles. But nobody likes them both equally. Somewhere you have to make a choice. And that choice tells me who you are." Joey, your obvious choice is the Beatles. Why?
JOEY: The difference between Elvis and the Beatles was that the Beatles had to encompass so many things. On an artistic level, the Beatles knew what they were doing musically. Lennon and McCartney are probably the best two songwriters ever. I struggle with Elvis. I know everybody borrows and steals a little bit here and there. The Beatles covered quite a few different people in the beginning. Elvis was a mirror image of what was going on in the African-American culture. He did have a good voice, but whether you like the voice or not, it's just your opinion. Elvis was about the moves and the looks. He had more of the rock and roll thing. In my opinion, rock and roll is more a style of life than a style of music. When the Beatles came along, they changed the game. Music was serious now. Elvis was foreplay and the Beatles changed it. They were going to write their songs, they were going to play their instruments, they were going to do harmonies, and they were going to have their own look. The Beatles put the whole thing in motion worldwide. Elvis had the heartthrob thing, but he stole from the African-Americans who couldn't be heard on the radio, or couldn't be seen with those dance moves on television. Elvis took all of that and sold it to white America.
Dave: The Beatles were innovative and Elvis was opportunistic.
JOEY: Everybody has to start off somewhere. The Beatles paid tribute to their "peeps" in the beginning, but they also had substance. I don't know how many songs Elvis actually wrote. He may have been involved in the writing of the song, but he wasn't always the songwriter. He could probably play guitar a little bit. Elvis became a parody of himself. He's laughable, and now he's more famous. He's like the Rolling Stones. They sell more off that tongue and mouth emblem than they do musically. Their music sucks but their emblem is good.
Dave: If you were asked to sing a Beatles song on a Beatles tribute CD, what track would you pick?
JOEY: I've always wanted to record my version of "Happiness is a Warm Gun." I love that song. But if you let me pick a "John" song then I have to pick a "Paul" song. That would be "Your Mother Should Know." During my stint in Daughtry, we played "Helter Skelter" from time to time. That was a Paul McCartney song and it might be the first heavy metal song ever written. The screams and the loud guitars on that classic song introduced hard rock to the world.
Dave: The title track of your latest EP "Change" is an edgier and more rockin' song, almost U2-like, that opens with a whole lotta piano. Do you consider yourself a drummer that also sings, plays guitars, and piano? Or, are you an all-around musician whose "day job" was being a rock drummer?
JOEY: I am the all-around musician that had a pretty cool day job. The only style of drums that I can play is rock drums. It's Neanderthal. I bash the crap out of my drums like Dave Grohl or Tommy Lee or John Bonham. When it comes to drums, a rock band like Daughtry is the only type of band that I could see myself playing that instrument for. I wouldn't have anything to do with that style of music if it wasn't for the drums. Rock and roll is not my cup of tea. But when it comes to playing rock drums, I have a blast. It's really not that difficult; you lay down a groove, beat the crap out of them and show off when it's time to show off. It's more about flair and entertainment.
Dave: I was expecting "Change" to be a rock record after hearing the title cut, which is the rockiest track from any of your three EPs. I hope you take this as the compliment I mean it to be. As a listener, you kept me guessing at every turn you took. You weren't predictable at all.
JOEY: I appreciate that Dave. It basically comes down to that I make records more according to feeling and less about style. I'd rather make a record that has a connecting vibe in feeling and what the songs are about. The songs on that record just came out. They are about change and about a different world; a world where we look not only at the problems, but at the good stuff as well. All those songs fit well together. I wasn't worrying about what the record would sound like in the end. I went with the feeling.
Dave: When I first listened to your music, I played them earliest to the most current, and with the songs running according to the way you sequenced the EPs. My first impression was that you were a very confident musician with respect to your instrumentation all along, but that you've really evolved as a songwriter in a short timeframe. When you look in the mirror, how do you think you've evolved as both a musician and a songwriter?
JOEY: I don't know. That's for other people to decide. Ultimately, that's for you to decide. My only job as a musical artist is to be the best I can be, while staying true to who I am, and doing exactly what I feel is right. And hoping people get it. Songs are never complete. You put them down on record and you do you best to get them out the door. Then they have to evolve and grow up on their own. That'll come with time and with playing them live. There are bands that have been playing the same songs for decades. Whether it was good or bad, at some point in time they tried to change it up. Sting is really good with that; how he takes his classic songs in different directions. I think it's really cool when a band goes back to revisit a song, whether it's going acoustic or adding strings.
Dave: Among the many musical influences you name at your MySpace page, it brought a big smile to my face to see you listed the New Jersey alternative band Ours right after you listed the late, great Jeff Buckley. Time Magazine called Buckley's rendition of the Leonard Cohen classic "Hallelujah" his best song because of the emotional ground it covers. A few years ago, at the New Jersey wedding reception of my friend Joey Gnecco, I watched his cousin, Ours frontman Jimmy Gnecco, serenade the newly married couple with an acoustic version of "Hallelujah." It's very rare to say you saw a great musical moment at a wedding reception! But I did! How'd you stumble upon the music of Ours?
JOEY: I love Jimmy Gnecco to death. He's one of the most amazing people I've ever met. I worked in a record store and I had heard a song or two from Ours. At that time, I was all about Jeff Buckley. Then when I saw Jimmy Gnecco open a show in Nashville, I was just butter. I couldn't believe what was happening. Jimmy projected an overall feeling of depth, it was peaceful and dark, and it was longing and it was searching. That feeling had originally attracted me to Jeff Buckley and now it was attracting me to Jimmy Gnecco. I'd never compare them. The musical influence is there but they are two different people. I'd go as far as to say that Jimmy is a better singer. That's a tough statement to make and I'm sure some people would flip out. Jeff was all about the moment. He was an out of control comet; a shooting star. He was just burning. It was amazing to see him go all out and put so much into it. Jimmy had such finesse and control. He knew who he was and what he could do. After seeing him perform again with Ours in Charlotte, I talked with Jimmy after the show and told him that my band back home covers one of his songs. He invited me to come out the next night for another Ours show in North Carolina. I went and he invited me up on stage to sing with him. I was scared shitless when we sang "Meet Me in the Tower," my favorite Ours song. That evening was awesome. We became friends. I stayed with him in his house in New Jersey and jammed when he was looking for a drummer. He became a fan of my music as well, which was mind-blowing. But he encouraged me to do my own thing. He's supportive and he believes in me. The world may not be hip to who Jimmy Gnecco is, but I am and you are, and that's all that matters.
Dave: Since you're no longer touring with Daughtry, what else do you have planned musically for 2010?
JOEY: I'm still working on my own stuff. I'm working on a project with Jimmy Gnecco. We've talked about it for a long time and I want to see it come to fruition. If it works out the way I can foresee it, it's going to be awesome.
Dave: Can you reveal any details?
JOEY: Anything can happen so I'd rather not jinx it. But if Jimmy Gnecco is involved, it's going to be pretty sweet. I'm giddy like a little school boy about it.
Dave: What else are you working on right now?
Joey: Right now, I'm spending all of my time working with new and upcoming artists. There are so many talented people out there. I'm currently working with Courtney Smith, a girl from Nashville, and a guy from Greensboro named J. Timber. They're young, they're go- getters, and they have that spark. They want to get out there and I'm trying to make that happen. I'm writing, producing, and playing all the instruments. They bring me their musical ideas and they trust me to run with them. Because I've been given the opportunity to be producer, I get to see their songs and ideas to my vision. That's a lot of fun for me. I envy their passion and the want to do something original. It's a total 180 degree turn from where I just came from.
Dave: Don't get disillusioned Joey just because somebody with a big record deal lost the passion. From where I sit, that passion exists everywhere. There are a lot of hungry musicians out there searching for an opportunity.
JOEY: I totally agree. But there are few and far between these days. The business of music is failing miserably. If I believed in God, I would pray every night that the business would disappear. All those people with millions and millions of dollars who have absolutely no clue of what music is and what art is, I want to see them gone. It's time to give people back their voices. It's going to happen. It's just a matter of time. A grass roots movement is very much alive and well. It's going to take over. People can release their own stuff now. People can record. People can start their own labels. Everything that you need to do to see your vision through is right there in front of your face. It could all be yours. We no longer need those big dudes. If you get out there and believe in yourself, and make others believe in you, you will find investors, fans, and people who respect what you do.
Dave: If every advantage has a disadvantage, what were the disadvantages of a band like Daughtry being signed to a big record label?
JOEY: Those people in the business are just investors. You have to pay that money back. It's a loan. Everybody wants quick fame; that's why American Idol and talent shows exist. You get quick fame and the chicken hawks get quick money. They don't care about you as long as you're making them money. Daughtry, for a period of two years, was the major cash cow for their record label. The label people, who have met us a thousand times, couldn't remember our names. They didn't care. Pardon my French, but I was re-introduced to the same fuckers a thousand times. That was ridiculous. I had to get out of that environment. My goal is to do what I what to do, to help others do the same, and to convince people that you don't have to play by anybody else's rules. The rewards are out there for musicians if we just work a little harder. That's the way it used to be. When the record labels weren't as big as they are, bands had to tour and really work to get out there. They loved bringing their music to the people. That's what is was all about. The prize is out there and there are plenty of ways to get it. I guarantee you that the people who get it the quick way will leave just as quickly as they came.
Dave: Thanks so much for taking the time to do this interview Joey. I love your honesty and your passion.
JOEY: I hope people stay tuned and keep interested in what I have going on. There are a lot of musicians out there making good music and pushing the envelope. It's only a matter of time before they get the respect they deserve. The thing most artists want more than anything is respect. I'd much rather have a die-hard underground following that will never leave me instead of being a flash in the pan. Twenty five years from now I still want to go out there and have people want to hear what I have to say. I'm just trying to make a difference in the world of music and in the hearts and minds of the youth who want to pursue music. I'll close by quoting the Beatles: "In the end, the love you take is equal to the love you make."