Maybury, not the generic standard

On the afternoon of 1-23-09, Alisterz.com had the pleasure of speaking with Nick Maybury, Los Angeles-based lead guitarist.
Nick Maybury remembers he and his brother singing “Born in the USA” into broomsticks, on a backyard garden table, sung with “so much conviction,” despite being Australian.
That was the first song he can remember.
He was born in 1982.
He’s an observer.

He says
It’s
Best to retire away from the city for an
Ideal creative atmosphere.
Somewhere like Mount Shasta in northern California, or the Santa Monica hills, by the beach.
But in the city, in New York where he lived in the Mink days (07-08), the bustle provoked creation too, inspiring lyrics, subject matter for songs.
In his youth, the Australian magazine Blues Collection provided an education with
musical biographies, catalogues,
And a CD.
BB King, Brian Eno, Hendrix, Tears for Fears,
Elmore James,
Johhny Hooker,
Beach Boys, the Monkeys,
Chuck Berry,
Buddy Guy,
The Beatles “Love” record, Stevie Ray Vaughn,
Eddie Grant’s
“Electric Avenue,”
Jazz,
Dion,
Electronic music,
Sydney club culture,
Eric Johnson, all
count as influences.
He came from a
family in love with music and art. Art history, trumpet, dance, voice, illustration, and art direction for film are among the many talents of his brood.
Now settled in LA, music will take him to Vegas next week. We were so lucky to track him down. He just returned from a fundraiser gig in New York.
We’ve spotted him around town, from the Viper Room to the Gibson Showroom. His sonic expression has found admiration in a vast array of circles. When trying to ascertain how many bands he plays in . . . it seems I’m still not sure. . . is it six or seven?. . .
His manner brings
Clarity to the stage. Like cool clear water, effortless sounds infuse magic into the particles of air.
As we listened to the music of a rainy afternoon in Silver Lake, I wondered how or why my instinct brought me to him. I don’t know. It is just so good to feel inspired by someone who so obviously takes his art so seriously. Janine and I sat down with him for a chat.
I asked him about multi-media shows. He approves. He’s been dreaming of it since high school. Eno was at it.
Envisioning brilliance in live art, with lights, sound, and electricity, film projection, dance, illumination blasting away the malaise of one identity, one method.
It’s about craving a live experience not ‘relying on the generic standard.”
A multiplicity of talents coexisting has an appeal.
The entertainer is supposed to be different, he says. In a sense, providing escape.
When speaking of his recent work, he said it’s about creating a party.
Entertainment for nine-to-fivers who want to have fun, and lose themselves in something freakish on the stage. He’s all about
mood and atmosphere.
I’m afraid we won’t have him in such close proximity forever. Lucky to speak to him, it seems something is in the stars for him.
In a year’s time, he envisions even greater things happening in his career.
He is calm and quiet, but well-spoken. His discipline and application to the artistry of his craft is clearly evident. With a bit of a golden touch, he adds layers and dimensions to the work at hand. Sounds, eerie or dreamy, plainly haunting, unfamiliar, irreplicable, fascinating.
Where do they come from? Atavistic maybe. Celtic, Middle Eastern, jazz, classic blues, or music of the industrial wasteland, there could be so many things contained therein . . . or nothing at all.
“It depends on what you call music” he notes. The rain is music.
The ideal band experience involves “mutual respect” and a same level energy-wise and skill-wise, he says. The best live experience is “telepathic” and “free . . . natural . . . flowing.” It’s important to be careful not to over-rehearse.
“There’s a difference between business and creativity.”
There is a time to “Stick to product” and “keep it consistent.”
I asked if other art forms are inspiring.
He said relationships with people inspire him.
“And humanity and the universe and the way the world works, and questioning that.”
“There’s music happening right now with the water.
Music is just sound.”
At the Gibson showroom last night in Beverly Hills he had “Nothing prepared and that was the idea.”
How to “snatch the crowd’s attention, on the spot” and do something, specific for them. It was a ten minute sound piece.
With effects.
“I like to manipulate the guitar signal with my effects pedals. I borrow from different genres. My background is in blues and soul music.”
He used to sing along with Ben E. King and Sam Cooke. He’d record it.
“I was always shy of my voice.”
Next time we’ll have to come into the studio.
That’s nice of him to say so.
We got to meet some of the instruments.
What a wonderful story he told of breaking in to the Christmas present keyboard at 4 am and waking up the whole house with the demo button.
Says he might be found jamming at the Baked Potato in Studio City. A jazz fusion rock thing.

Mash-ups are “really refreshing.”

He’s excited by a live electro thing that comes from the DJ culture.
An outfit he’s working with uses
the program software Tracktor.
They get to
Push play and manipulate sound. Every show is different. A lot of preparation goes into it.
But he performs live on guitar.
It is so much fun, with new songs and remixes of older work.
Watch out for the Scenemakers.
Maybe something on the radio soon.
Maybe something this summer.
“Great things happening this year. It’s a good vibe.”
Look for him in Prism Eye with Rick from the Polyphonic Spree, with Thunder from Heaven, Andy Clockwise, Mink, Billyboy on Poison, playing with Lisa Harriton, with Perry Farrell, and solo . . .

mary eng
1-23-09