In the Studio with David Wallimann

Carl Hose: Thanks for talking with me. You’ve got a new album out. Tell us about it.

David Wallimann: Thanks so much for having me! Evolving Seeds of Glory is a full length instrumental progressive metal album that was written in the midst of one of the most defining periods of my life. I was in my late twenties, going through a paralyzing depression. As I was going through this, I started hearing music, something I hadn’t heard before. The music always came to me during my evening walks. Evolving Seeds of Glory is my best attempt to reproduce what I heard during those long walks. I am very fortunate to have great players help me on the record, including Randy George on bass and Nick D’Virgilio on drums.


CH: Is this your first?

DW: This is my 3rd album as a solo artist. My first one – Deep Inside The Mind, is getting re-released soon with new arrangements and new musicians. My second one is a collection of Christmas songs re-arranged in a fusion-rock genre. I did release an album with prog rock band Glass Hammer and also the band Public Alchemy.

CH: How do you compose? Do you like to map everything out in writing or do you just start jamming and then working through what you capture until you find the gold?

DW: I usually compose without an instrument. Most of my compositions happen on walks. I feel that ,for me, writing on an instrument is always limited by my physical ability to play that instrument, whereas writing in your mind is only limited by your imagination. Once I have a musical idea, I will try my best to reproduce it on the guitar or keyboard. That’s how I usually start.

CH: What is your writing process like? Do you have specific times you write best, do you wait for the muse, or do you make yourself sit down and write on a regular schedule?

DW: Unless I have to, I try not to force it. Once I have an idea, I try to record it somewhere and leave it there. I get back to it after a few days and usually hear the next part. The important thing when doing this is to not have a guitar in hand because if I do, I will always start playing, and that always ends up with something less interesting than something I would create within.

CH: How do you feel about the state of the music business today. There are some who believe the business as it used to be is dead, some who believe it is completely gone, and others who find new ways to make a living in music. Certainly illegal downloading has had an impact, but where do you see the business. Does it still exist, just on a different level than before?

DW: It’s true that the music business has completely changed. I know a lot of musicians who complain about not being able to make it like they used to in the good old days. I see it differently. It is absolutely possible to make a good living with music. However, I feel that it’s essential for musicians today to have the entrepreneurial mind. Think differently. Don’t live in the past. The old ways don’t work that well anymore. There was a tie when putting a band together. Gigging a lot would bring you somewhere. It’s still possible today, but there are other ways. Thinking differently and creatively makes it possible to enjoy a rewarding career in music.

CH: What advice do you have for songwriters and players who want to actually write and record music? Is there a way you feel that can be done today?

DW: I would suggest starting from within. Try writing without an instrument and see what comes out. The instrument is… an instrument. 🙂 See it as a tool to share your ideas, not as the sole idea generator. I often say this to my students: “The writer tells the story, not the pencil”.

As far as going places with your original music and making a career, there are ways, however they change all the time. Starting to build an audience is essential. Do this early on, even if you don’t have music to share yet.

CH: Do you prefer to play live or are you happier in the studio?

DW: I much prefer being in the studio. I enjoy playing live – sometimes – but I could go the rest of my life never performing and I would be OK. I love composing. It’s one of my favorite things to do in the whole world. I think I played live a total of 4 times in the last 8 years. 😀

CH: What is your studio set up like?

DW: My guitar goes through an Axe FX II. It’s super convenient and sounds great, in my opinion. I stopped using amps about 10 years ago because of lack of space. The Axe FX replaced all that and more. I use Logic Pro X for all my recordings. It’s all really simple to use, which allows me to focus on creating.

CH: What music (bands or songs) inspired you early on to get into music, play guitar, etc, and what bands do it for you today? Is there one record that changed your life?

DW: Joe Satriani was the first real inspiration I had when it came to guitar. I then fell into progressive music. Later on, I discovered Spock’s Beard and Neal Morse. The story-telling aspect and orchestration of prog rock is very appealing to me.

CH: One song you wish you’d written, either for the creative joy or for the royalties.

DW: Haha! That’s a great question! Hmm . . . I think I would have liked to write Dire Straits’ Telegraph Road. Out of all the songs, that’s the one I probably listened to the most in my whole life. I love the story of that song and how it builds up. I love Dire Straits!

CH: What’s a guilty musical pleasure you have? A performer or band you love but don’t tell people you love.

DW: Are you sure you want to ask me that? How many people are reading this? 🙂 I always go back to cheesy 80s French music. For the record, I did grow up there so that explains a bit. Google “Debut de soirée” and you’ll know what I’m referring to. Ok, I’ll go hide now…

CH: Well, mine’s Culture Club. I feel better now. Beatles or Stones?

DW: Beatles

CH: Coffee or tea?

DW: Coffee. Lots of it . . .

CH: You’ve been teaching music for many years. Do you enjoy that more than writing and recording, or do they satisfy different aspects of your personality?

DW: Yeah, I love teaching. It’s almost selfish because I have learned so much about music while teaching. Taking time to anticipate student questions really has an impact on your own playing. Simplifying complex musical concepts has really had a huge impact on my music and that’s all because of teaching.

CH: What’s going on with you now, besides the new album? Where else can fans get into some of what you do? Where can they grab lessons, more of your music, etc? Anything big coming up they should be on the lookout for?


DW: The last few years have been all about efficiency and re-defining my business. I have young kids and I don’t want music and business to take more time away from them. So most of my time is spent being a dad and enjoying that. I also have a Youtube show where I try to upload about 3 videos per week. I’ve been doing this for about 10 years and love doing it. People can find out more about my music on my website

Also, follow me on Youtube at

And lastly, if anyone is interested in guitar lessons:

CH: Appreciate you talking to me, man. Take care.

DW: Thanks so much for having me, Carl!


Sad Clowns and Hillbillies

John Mellencamp has released another incredible album. For those looking for the Mellencamp of yesteryear, who did the classic rock anthems, you won’t find him on this album. In fact, you haven’t been able to find him on the last couple of albums, No Better Than This and Plain Spoken either. This newest effort, Sad Clowns and Hillbillies, is right on target with those previous album, and for those of us who get where Mellencamp is going, it’s another awesome record.


Sad Clowns and Hillbillies is a bit different than the two previous albums. It was originally slated as a duets album, although only a few of the tracks are actually duets. The album features vocal contributions from Carlene Carter and Martina McBride, drum work from Stan Lynch (of Tom Petty fame), as well as drum work by Kenny Aronoff, who played drums with John throughout the 80s and 90s. Other guests on the album include Christie Brinkley on background vocals and Izzy Stradlin playing guitar.

The sound of Sad clowns and Hillbillies is a bit on the country side, but that’s not surprising with Carlene Carter singing on five of the tracks. It’s also got some folk qualities and a healthy dose of blues. Mellencamp’s aging voice suits the the sound of the record well. It’s the gravelly old blues singer voice that Mellencamp has been waiting his whole life to sing with. It’s a voice that brings warmth and sincerity to the songs. If you don’t buy into Mellencamp’s sincerity, you ain’t got no money, baby.


The songs on the record cover a broad range of topics, from love to politics, to the very core of human nature. The songs are delivered with sparse instrumentation, simple arrangements, and heartfelt, if brutal, honesty. Most of the songs were written by Mellencamp, though there are a few co-writes, and even three tracks Mellencamp had nothing to do with writing. These are great songs on another great Mellencamp record.

Grandview, All Night Talk Radio, Early Bird Cafe, and What Kind of Man Am I? are some of the standout songs on the album. They’re all good, but these are my favorites. I’ve listened to the album three times, and each time I found something new to like about it. There are so many layers built into the lyrics and so many textures in the music.

“Mobile Blue”
“Battle of Angels”
“Grandview” (featuring Martina McBride)
“Indigo Sunset”
“What Kind of Man am I”
“All Night Talk Radio”
“Sugar Hill Mountain”
“You Are Blind”
“Damascus Road”
“Early Bird Cafe”
“Sad Clowns”
“My Soul’s Got Wings”
“Easy Target”

Even with new musical direction, somewhere beneath it all is the same John Mellencamp who’s always been there. Age has brought a bit more wisdom and new perspectives, but the John Mellencamp attitude is as alive on this new record as it’s been on any of his previous efforts. Hell, maybe even more so.

Under the Covers with Krokus

I’ve always liked Krokus a lot. They never quite got the recognition other hair metal bands did. Maybe that’s because they were around before the hair metal era. Their first album, a self-titled progressive rock offering, came out in 1976, but they really started hitting their stride with the 1980 release Metal Rendez-vous. That album was the first to feature Marc Storace. With Marc’s Bon Scott-ish vocals and a more commercial approach to songwriting, Krokus began carving out a place metal history.

Maybe you recognize some of their songs, maybe you don’t. There were some great ones. Bedside Radio, Headhunter, Eat the Rich, Midnite Maniac, Hot Shot City, Long Stick Goes Boom, and Screaming in the Night are just a couple of their originals. What I want to highlight here are some of the best cover songs Krokus has done.


Krokus had a talent for picking songs to cover. They made them sound like Krokus while maintaining the integrity of the originals. American Woman, Ballroom Blitz, and School’s Out are just some of the songs that got the Krokus treatment. They even did a Bachman Turner Overdrive tune called Stayed Awake all Night, which really kicks ass. It’s not surprising Krokus finally released an album of covers. The album is called Big Rocks. It’s full of songs you’ll recognize, all done with the Krokus attitude.

Some of the great tracks on Big Rocks include Queen’s Tie Your Mother Down, Neil Young’s Rockin’ in the Free World, Spencer Davis group’s Gimme Some Lovin’, and Zep’s Whole Lotta Love. Other cool stuff includes Wild Thing, Born to Be Wild, and a wicked version of one of my favorite Stones songs, Jumpin’ Jack Flash.

Big Rocks is a killer set of songs. Krokus brings out the best in each one. There’s enough of a tip of the hat to the original versions to do them justice, but enough Krokus injected into each of the songs to make them sound consistent. Lots of bands do cover albums to varying degrees of success. Krokus has perfected the art of covering songs by other bands. Big Rocks is a perfect example of that. Every song on the album is a classic, and with Krokus doing them, they are infused with a new life. If you’re a Krokus fan, check out Big Rocks. It’s a great jam.

I’m No Angel – Gregg Allman

i'm-no-angelThere’s little I can say about Gregg Allman that won’t be said by peers and fans alike. He had an awesome voice and the music poured from somewhere deep within him. Instead I’ll talk about an album from his catalogue that tends to be overlooked. With his passing, there will be lots of discussion about his work, but his solo album I‘m No Angel, released in 1987, will probably not be one of the most talked about. That’s not because it isn’t a good album, but because there are many more, both solo and with the Allman Brothers Band, that tend to get looked at more frequently.

I’m No Angel was a bit more commercial and accessible to the mainstream than some of his other albums. The songs on I’m No Angel are bursting with catchy melodies and hooks that could land a whale. The title track was a huge hit. It’s a great song. Another standout track for me on the album is the ballad Faces Without Names, which details the love he has for one special girl who stands above the rest.

The first seven songs on I’m No Angel are aimed more at the mainstream. The last three have a lot of blues and gospel elements, more in line with what you hear in most of Gregg Allman’s material. That’s not to say there isn’t a healthy dose of the blues throughout this album. Even when he’s doing more accessible mainstream songs, Gregg Allman’s soulful, bluesy approach is evident. Anything Goes is a song that demonstrates a great blend of commercial appeal with a bluesy foundation. Two more songs that stand out for me are Evidence of Love and Can’t Keep Running.

I said earlier that this album may not be one of the most talked about. I think that’s fair. Some hardcore fans of Gregg’s may not feel this album as much as they do some of his other records. On the other side of the coin, he probably reached some new fans. For me, this is a killer effort. I love the album and always have. I listen to it frequently.

  1. “I’m No Angel” (Tony Colton, Phil Palmer)
  2. “Anything Goes” (Gregg Allman)
  3. “Evidence of Love” (Chris Farren, Steve Diamond)
  4. “Yours for the Asking” (Allman, Dan Toler, Frankie Toler)
  5. “Things That Might Have Been” (Allman, D. Toler)
  6. “Can’t Keep Running” (Michael Bolton, Martin Briley)
  7. “Faces Without Names” (Allman, D. Toler)
  8. “Lead Me On” (Allman, D. Toler)
  9. “Don’t Want You No More” (Spencer Davis, Eddie Hardin)
  10. “It’s Not My Cross to Bear” (Allman)

The Boys from Doraville

boys_from_doraville The Atlanta Rhythm Section has been one of my favorite bands since I first heard A Rock and Roll Alternative back when I was a teenager and driving my mom’s Trans Am. She had a bunch of eight track tapes. A Rock and Roll Alternative was one of those tapes I listened to constantly. I remember catching a bus and going through questionable neighborhoods to get to downtown St. Louis one fourth of July to watch the band play at the VP Fair. I stood right in front of the stage. It was a blast. While A Rock and Roll Alternative remains one of my favorite albums of all time, there’s another ARS album that comes pretty damn close to matching it. That album is The Boys from Doraville. It doesn’t quite nudge A Rock and Roll Alternative out of the number one ARS album spot, but it comes pretty damn close.

It’s Christmas, 2016. I hadn’t heard this album in two decades at least. I got it as a gift this year and eagerly played it, remembering the greatness of the songs on this album as I listened to them again. The Boys from Doraville is truly an awesome album. The songs are tight and to the point. It’s a dose of southern rock and roll at its finest.

  1. “Cocaine Charlie” (Buie/Hammond)
  2. “Next Year’s Rock & Roll” (Buie/Daughtry)
  3. “I Ain’t Much” (Buie/Cobb)
  4. “Putting My Faith in Love” (Buie/Daughtry/Cobb)
  5. “Rough at the Edges” (Buie/Daughtry)
  6. “Silver Eagle” (Buie/Cobb)
  7. “Pedestal” (Buie/Hammond)
  8. “Try My Love” (Buie/Hammond)
  9. “Strictly R & R” (Buie/Nix/Daughtry/Walker)

The album opener, Cocaine Charlie, is a killer character study with an awesome groove.  Pedestal is one of my favorite ARS ballads and Silver Eagle matches Georgia Rhythm from A Rock and Roll Alternative as a definitive life-on-the-road song. Rough at the Edges is another cool character study and Strictly R & R is a tribute to what the band does best. Simply put, there is not a bad song on this album. In fact, I think it’s one of their underrated masterpieces. There’s a great balance of mid tempo, uptempo, and ballads here. The songwriting is top notch and the production is killer. I’ve missed this album over the years. It was a great Christmas gift this year and a reminder of just how great the Atlanta Rhythm Section are as a band. While the members aren’t all the same today, they are still doing shows and doing justice to this music, which is why they remain one of my favorites.

Songwriting Magazine – A Songwriter’s Treasure


There have been precious few magazines devoted to the craft of songwriting for as long as I can remember. Lots of music magazines, yeah, but not great songwriting magazines. I can remember way back when I first started writing songs, the best I could find was a magazine called Song Hits that published lyrics to popular songs. Not a bad study for songwriters, but I could get lyrics by listening to the records. Besides, they didn’t discuss writing the lyrics, they just reprinted them. That was all there was, though. As the years went by, guitar players, bass players, drummers, and keyboard players all got great magazines devoted to those instruments, but the songwriter was always forgotten.

No more, folks. I’ve been subscribing to Songwriting Magazine for a while now. I can’t recommend it enough for anyone who writes songs, regardless of your skill level or where you are in your career as a songwriter. This is our magazine, and it doesn’t get better. Songwriting Magazine gets it right. They understand what goes on inside our heads.

Every issue of this magazine is packed with articles that promote the craft of songwriting. There are interviews with songwriters, articles that focus on the musicians who perform the songs, articles about songwriting craft (lyrics and music), articles on music theory, articles detailing the business side of songwriting, music reviews, and reviews of all the latest and greatest tools for songwriters. It’s all here. Anything a songwriter might need or be interested in reading about is in the pages of Songwriting  Magazine.

It doesn’t matter what kind of songs you write. Songwriting Magazine is for all songwriters. They understand the craft. They understand what it takes to write songs. That’s why the magazine covers such a broad spectrum of material. It’s not all about craft and technique (although, I’m happy to say, there’s plenty of that between the covers). It’s also about the thought process and the passion that goes into writing songs. The magazine addresses songwriting with respect.

The writing in, and composition of, each issue is of the highest quality. There simply isn’t another magazine out there that meets the needs of the songwriter like Songwriting Magazine. If you write songs, you need a subscription. It’s one of the best gifts you’ll give your songwriting.

I’m passionate about writing songs. I wouldn’t waste space or time talking about a magazine on the subject if I didn’t believe in it. If you live and breathe songwriting, Songwriting Magazine will live and breathe it with you.

Songwriting Magazine is available in print or for iPad, Android, and Kindle devices. Whatever your preference, you’ll be able to enjoy all the great stuff this Songwriting Magazine has to offer to songwriters everywhere.

Visit Songwriting Magazine and get your subscription now.

Ten Dynamite Debut Album Follow Ups

I recently did a post called Ten Dynamite Debut Albums. This is the follow up to that post, which takes a look at the follow up albums to those debut albums. Follow me?

Kiss Hotter than Hell

Hotter than Hell (Kiss) – Not happy with the sonic integrity of the first album, Kiss wanted to follow up with something darker and heavier. The result was Hotter than Hell. I don’t think they were happy with the results of this one either, but I think it turned out pretty damn good. I might even prefer it over the first. It doesn’t have as many concert staples as the first album, but there are some great tunes here. Got to Choose, Parasite, Let Me Go, Rock ‘n’ Roll, Comin’ Home, and the title track are all great songs. Peter Criss does a killer vocal on Mainline and Ace does an amazing solo on Strange Ways (with another cool Peter Criss vocal). There’s also an underrated Gene Simmons song called All the Way. While this album may not be considered as “classic” as the first, it certainly holds its own.

Boston Don't Look Back

Don’t Look Back (Boston) – Following the perfection of the first Boston album was no doubt a difficult proposition. Don’t Look Back does a decent job, but it never quite reaches the same level of excellence. There are some great songs here. The title track, of course, was a pretty big ht, and a good song, and A Man I’ll Never Be, Party, and Feelin’ Satisfied are all good songs too. Not a bad album, but not as awesome as the first one.

Van Halen II

Van Halen II (Van Halen) – I like this album at least as much as I like the first one. Not sure if I’m in the minority or not. Dance the Night Away is just a fun song. It’s my favorite from the album, and one of my favorite Van Halen songs all around. Somebody Get Me a Doctor, Bottoms Up!, D.O.A., Beautiful Girls, and their cover of You’re No Good are great tracks too.

Gun n Roses Lies

G N’ R Lies ( Guns N’ Roses) – Let’s face it, Guns N’ Roses never matched the power and beauty of Appetite for Destruction. Never. Their second album, G N’ R Lies, is not a bad album by any means, but it wan’t quite the follow up it should’ve been. Patience (great power ballad) and Used to Love Her (tongue in cheek funny) are the best songs on the album. There’s also a much different version of You’re Crazy (originally recorded on the first album) and a couple of songs from Axl Rose’s previous bands. The album does include the full EP Live ?!*@ Like a Suicide. too, which is a plus. While it wasn’t a great follow up, it does stand as a pretty cool album on its own.

Cinderella Long Cold Winter

Long, Cold Winter (Cinderella) – Despite the fact that this album has some of my favorite Cinderella songs on it (Gypsy Road, Don’t Know What You Got (Till It’s Gone), and Coming Home), I don’t think it’s as good as the first album. The band really hit their stride with the third album, Heartbreak Station. Still, three of my favorite songs, plus a couple other decent tracks, make this an admirable follow up to Night Songs.

Tesla the Great Radio Controversey

The Great Radio Controversy (Tesla) –  I thought this was a good album. I still do. It had a few hits, Hang Tough, Heaven’s Trail (No Way Out), Love Song, and The Way It Is among them, but the album didn’t make my ears smoke like Mechanical Resonance did. It was considered by many to be a worthy follow up, though, and it’s definitely got some killer stuff on it. Tesla is a great band that never really disappoints.

Lynyrd Skynyrd Second Helping

Second Helping (Lynyrd Skynyrd) – Like I said, the legacy left behind by Lynyrd Skynyrd after that plane crash was created in the first five albums. Second Helping opens up with Sweet Home Alabama. How could you go wrong? Don’t Ask Me No Questions, Workin’ for MCA, The Ballad of Curtis Loew, The Needle and the Spoon, and Call Me the Breeze are some of the fine southern delicacies offered on Second Helping.

Tom Petty and the Heartbreakers You're Gonna Get It

You’re Gonna Get It (Tom Petty & the Heartbreakers) – The second album by Tom Petty & the Heartbreakers continued the tradition of the sound that would define the band. While the album is pretty good (I’d never turn it off), I don’t think it comes near being as cool as the first album. There are two excellent Tom Petty classics here, I Need to Know and Listen to Her Heart, but the rest of the songs just don’t measure up. That’s not to say they’re bad. Magnolia, Baby’s a Rock ‘n’ Roller, and Too Much Ain’t Enough are pretty good too. Overall, not a bad album for Tom Petty fans, but not a great album like the first one is.

Ozzy Osbourne Diary of a Madman

Diary of a Madman (Ozzy Osbourne) – Ozzy’s second album was a killer follow up to his first, and in my opinion, an even better album. Over the Mountain, Flying High Again, and You Can’t Kill Rock and Roll are my three favorite Ozzy songs. Believer, Tonight (one of the original power ballads), and the title track are classic Ozzy, and along with the remaining songs, help make this a successful follow up.

Matchbox Twenty Mad Season

Mad Season (Matchbox Twenty) – Following up an album as phenomenal as Yourself or Someone Like You had to be a challenge, but  Matchbox Twenty did it. Mad Season is full of some of the best songs I’ve ever heard. Again, Rob Thomas is just a master songwriter. He knows how to reach down and touch your soul. If You’re Gone (such an intense song), Last Beautiful Girl, Bent (a powerful song), Rest Stop, and Bed of Lies are some of the great songs on this album. There’s never been a Rob Thomas or Matchbox Twenty song I didn’t like.