The Bandwich Tapes

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