You might remember about a week ago we ran a story about this upcoming interview asking our readers to submit their questions. Well, you did (thank you!), and we included some of them for the interview below. Lori Friday was kind enough to answer all of our questions…
Q: How did the band originally get together?
A: I walked into a club one night and saw Kenny and Joe onstage with another bass player – I really admired their style and approached Kenny afterward about maybe playing together sometime. He wasn’t too interested at the time! Later, a mutual friend suggested to them that we all get together to play. We met at their loft in Troy, NY, where after a 45 minute jam, they asked me to join the group.
Q: What should our readers know about your new album, Sweet Fist?
A: It was recorded live to 2″ analog tape at Ardent Studios in Memphis, TN. It was mastered by the original Stax Records mastering engineer, Larry Nix, to double vinyl! We’re very proud of that.
Q: Super 400 is a great live band (I can vouch for this since I’ve been hooked ever since I saw you live myself). What new elements to your live set will the new album bring?
A: Thanks, we love our fans and can’t wait to play for you again! A lot of the music on Sweet Fist is empowering; it was written during a time when we were fighting through challenges of the heart. I think we’ll be stepping to the stage with a lot of confidence and aggression, but with the same abandon and joy of experimentation. The live sets are more fun these days because we have a greater variety of songs and colors to choose from.
Q: If you were making a mixtape for our readers, what are the first three songs you’d choose (from other artists) and why?
A: Jet by Wings, Mod Lang by Big Star, and Heart of the Sunrise by Yes. Sunshine, swagger, and pummeling greatness.
Q: Why do you think so many talented bands today have a hard time gaining exposure and breaking out?
A: Everyone has the same shot of success in this game. If you maintain your personal and creative parameters and are lucky enough to share them with the people you are working with, you’ll have the advantage of soul satisfaction on the journey. If you believe in your sound, go for it! Play as many shows as you can and get your music online. The right people will find you even if it amounts to 13 fans in Idaho.
Q: Can you tell us the story behind Sweet Fist’s cover artwork made by Klaus Voorman?
A: We found out that Klaus had just done some recording at Ardent right after we were there. We took this as a sign that we were meant to align somehow. I contacted him about doing the cover but he said he was very very busy — he is Klaus Voormann after all. I couldn’t let it go at that, so I got in touch again, told him the album title, and he was into it. He showed us a sketch of what became the Sweet Fist cover! We were thrilled and still can’t believe our luck.
Q: What was the most inspiring part about recording at Ardent studios? How did recording there effect the sound of the album?
A: We had previously done most of our recording at our house in rural upstate NY. Being at Ardent was to be a part of something much bigger than ourselves, the energy in the air there has engraved a pattern in the fabric of time. We found the best in ourselves there among the ghosts and the cajun catfish dinners. It was such a luxury to be able to spend a month in Memphis with nothing to worry about, our only cares were of the sonic variety. It was our favorite recording experience and we hope to return there.
Q: On Sweet Fist, the band used some cool instruments that aren’t part of your usual (guitar/bass/drums) arsenal. Can you explain the circumstances or inspirations for using those particular items? Also, what kind of cool sound makers do you hope to employ in the future?
A: When we took the studio tour early on and saw the Mellotron, I decided to write a couple parts for it – it ended up on the tracks FFMN and Devil Song. I played a little piano, Joe recorded some percussion, and Kenny plays acoustic guitar on a couple songs. There’s a nice organ part on the track White Bird, too. It was fun to add new sounds to these songs, ones that we can’t reproduce live because we’re a three-piece, but will stand for all time on the record. During the live set, part of the listening experience is visual. On record, it’s just your ears and your imagination. I tried to play the flute part on White Bird with a plastic student recorder. I wonder if Jason still has the take – it is gutbustingly hilarious. We ended up hiring a pro flutist for the part, thankfully!
Q: It was great to hear Lori singing lead vocals on Flashlight, can we expect to see her doing more of that in the future?
A: Before this past year, I sang lead on a couple of cover songs, mostly to give Kenny a break during the long sets. It’s fun to finally sing a song that we wrote, and it’s a totally different thing than singing a Stones tune or what have you because you’re emotionally involved. If the song seems right, I’ll do it again for the next record. After many years of doing my own thing safely in the background, I have a new respect for singers!
Q: Tell us one last thing about Super 400 that we wouldn’t find on the Internet.
A: We are pretty good bowlers! Not good enough to go pro but we can challenge most comers and give em a sound beating!
J. Howard of North Carolina and J. Orlowsky of New Jersey were selected as the prize winners for their submitted questions! Thanks to all of our readers and a huge thank you to Super 400 for taking the time to answer our questions!
You can find out more about Super 400 on their website, over at myspace, or on their facebook page. You can also view all of our previous coverage of the band here.