I always hoped this day would come but wasn't sure it would. Jackson Soulfire is reuniting as part of a large showcase of Vancouver bands, April 17 at the Red Room Ultra Bar in my favorite city in the world, Vancouver. Three original members are coming back for the show plus we're adding one of our biggest fans on guitar, an enigmatic and exciting player named The Blue Falcon. I've played alongside him on different projects and his playing will take us up a level.
My long-time friend (of 22 years!) Erik Johnson is stepping back into the position we last left him; behind the drum kit. He spent most of his time in JS on guitar/vocals/songwriting, but in our last days live we moved him to the drums and had more fun in six months that we'd had in all the years previous.
Though technically not an original member in the sense of being there from the beginning, Dan Unger, returning to bass duties, feels like a founding pillar of the group. The four of us have a lot of history and between us have logged thousands of stage hours, and we definitely have trouble remembering him not being in the band. Now all grown up, married, and featuring the cutest baby on Facebook, "The Kid" takes his rightful place as an indispensable member of the group. And I can't wait to share the vocals again with this big, big talent.
We go into rehearsal for this reunion excited to work together again and filled with a mission to bring the rock to the people. Here's to a great show, filled with songs you know and songs you don't.
April 17. Red Room Ultra Bar. Vancouver. Jackson Soulfire Returns.
After only three short years, a new Jackson Soulfire single! This one is about my guitar; dependable, hardworking, moderately attractive, but for a few years she took a backseat to a sleek and sexy black model. Eventually I came around to the truth; personality is more important than appearance, and every good girl needs a song written about them.
So is this the first song off a new JS album? Not really. It's more like finally embracing the era of the single. When I recorded my 2012 album, "Ashes, Embers, and Old Flames," I demoed 20 songs for it and chose ten that suited each other, but there were always the other ten with no home; songs that I like alone but not on the same album. So, you get to hear them, whenever they come out. Enjoy this one for a while and then I'll throw the next one your way.
Long time fans of the band might ask, "but what about the rock?" This new track is from a genre I secretly love -Vintage R&B. Clean guitars, groovy keys, liquid bass and a snare drum that just won't quit. Hope you like. If you hate, give it a second listen.
See you soon with another single. -Mike
“Indecisiv” completes the shortest full length album I’ve done, clocking in at 6 songs less than the previous album and 4 less than the one before that. Ironically, I’ve always wanted to do a double album (pointless now in the era of the digitally released single) and for a while “Ashes, Embers and Old Flames” was going to be that. I wrote and recorded 20 songs for the affair, but as 2012 threatened to become 2013 I decided to stop at ten tracks and save the other ten for the next album.
One of the things I miss about putting albums on CD was the challenge of song sequencing—pacing the experience. On my first album I agonized over how best to present the songs, trying multiple play orders and wondering if I had chosen the best collection of songs for that disc. A lot goes into perfecting the presentation; you need to have an overarching direction (high energy with a dip in the middle back to a big finish, or maybe start slower, pick it up at random times and end softly) then the songs need to flow one to the other with natural sounding tempo, key and mood changes (criteria you don’t really consider during the writing phase when you’re just trying to write songs that don’t suck).
Then you have to make sure the album isn’t too long. As a writer, I always wanted to pack as much material into one collection as possible, but a few years ago I realized that as a listener, I’ve heard enough from a band or artist at 10 songs. It only takes 8-10 songs to wash the dishes or get ready in the bathroom, and those three or four tracks at the end often go unheard. So, here’s my first ten-song album, not short due to lack of material, but short to keep you interested for half an hour. I released the songs in no particular order, choosing candidates based on how much work each needed to be finished and how much time in a week I had to mix it (the most tedious aspect of the recording process). So now the next album is close to finished (Bonus!) and YOU, dear listener, can live the adventure of finding the best order to play the songs on your digital device.
Hope you like these tunes, hope you download them and show them to your friends on a Friday night drive into the city, and hope they make you feel good. Thanks for listening and reading!
Mike Hasler December 21, 2012
When I first started in music, I resented that some people, like myself (song writer, vocalist, arranger, frontman, entrepreneur) seemingly had to work harder than those people who only sang, played no instrument, had their songs written for them and had the business side of the industry handled for them by a dedicated and focused team. I wrote “Jet Setting Queen” in 1999, and back then, my inspiration for the lyric was a teenaged Britney Spears. Manufactured stars were the order of the day, and the new era of singles over albums, Producer-as-star, and audience/artist short term relationships was swiftly replacing the old system of like minded young men banding together in pursuit of common musical goals, to the exclusion of all else in life. I’ll never know how, but thirteen years later Britney is still in the public eye, so I must have misdiagnosed her lack of whatever it is she has. Still, the sentiment—and criticism—in the words rings true with many of our current stars, and it is probably wishful thinking that the old fashioned days of the industry—when hard work and a following could get you a shot at stardom, or better, career longevity— will ever come back. And we will seemingly—now more than ever before—always have the one hit wonders with us.
“Jet Setting Queen” has been in the JS repertoire forever, but was never put to album because I was saving it for the right one. It fits on “Ashes, Embers and Old Flames” in all three categories of the title: Ashes, because at the time of writing this I dreamed of being a star in the industry much the same way our title character is in this song, Embers, because the lyric still proves true today whenever the industry plucks a pretty girl out of the local field and markets her into a global sensation, and Old Flames because it’s a rock song and, despite having grown in my appreciation of many genres and forms since writing this song, my first love will always be rock and roll, and that’s a nice place to revisit once in awhile.
It may seem like cheap and shameless promotion, but I LOVE THIS TRACK! Since I released it I've had it on endless repeat, not something I do for my own music often, especially after having heard it a hundred times through the writing, recording, editing and mixing stages, but the groove is relentless and unforgiving. The song was sitting on my hard drive with all tracks recorded except the finished vocal, then when it came time to lay that down, I got Laryngitis that week. I thought, "this could be cool" and tried to sing it with no voice. The result is a fresh approach guaranteed to scare your younger siblings, and the track reminds me of something The Rolling Stones would do. Lyrically, we've all had that person or thing that wasn't good for us but had some kind of magnetism that kept drawing us back, despite our best intentions to the opposite.
John Lennon wrote, "Life is what happens while you're busy making other plans." The summer didn't go exactly as planned, but we're back with the next track on "Ashes, Embers, and Old Flames," an R and B groove monster called "Do with You (What am I going to)."
A classy and elegant friend of my wife and mine holds a high position in her company, is a professional and is so skilled at what she does.....so when she was at a jackson soulfire concert and a dance party broke out, I was pretty much shocked to see her absolutely cut loose and do more damage to the dancefloor than everybody else combined. I'll never forget how impressed I was with her confidence and the way she was able to throw off any inhibitions to fully saturate herself in the fun moment, and now you'll never forget because I wrote a song about it.
For someone who would become a career musician, it's strange to think I didn't like music until I was sixteen. Through thin walls I would hear my sister blasting Madonna, Phil Collins, Depeche Mode, 2 Unlimited and MC Hammer and wonder why everybody but me liked music so much. My first CD, which I bought for some reason before even owning a CD player, was the orchestral score to "Return of the Jedi," some movie about giant slugs and laser swords. And little bears. Having an active imagination, I would often draw or write with movie soundtracks playing in the back, but then came the day (later my friends and I would come to realize this day is a rite of passage for all teenage boys) that I discovered my uncle's record collection in his storage room and, specifically, pulled out the first 5 records from a band called Led Zeppelin. The German blimp "The Hindenburg," ablaze and crashing into a tower, was an arresting image, and from the first vinyl cracks of "Good Times, Bad Times" right into the haunting and compelling acoustic picking of "Babe, I'm Gonna Leave You" to the simple-yet commanding 4 semi-tone drop riff of "Dazed and Confused" with it's screaming fast solo section, to one of the first punk songs ever written, "Communication Breakdown" complete with guitar solo I could only fantasize about being able to play at the time, to the heavy swing and incredible drum march of "How Many More Times," that first disc spun an immediate fan for life. The next album, with the unbelievably creative title of "Led Zeppelin 2,"is my favorite album from the band and one of my all time adored collection of songs. Jimmy Page taught me to play guitar and John Paul Jones taught me what could be done on a bass. If you're a fan of Zep, you'll hear those influences in this new JS track, "Résumé for Love." For a while I considered not releasing it because it is so much like something they would do, but then I decided it is a musical tribute to one of the two groups that got me into music in the first place. Enjoy it for that (and for the creative vocal parts in the second chorus that I'm proud of...) This song's dedicated to Erik and Dan, my former JS band mates; we often spoke of Led Zeppelin as a mutual influence when arranging songs, and more importantly, the group who wrote the textbook on rock helped write a part of our friendships too.
After ten years of marriage, I could still use more practice at being a better husband. Mixing this song all week, I started to take my own advice and do more for my hard-working wife. Guys, it works! Suddenly the sweetness comes back into their voice and they start bringing you coffee again!
I feel like this is the best song I've written. While there are other JS songs that can stand with it in terms of depth and beauty, ("Don't Say Goodbye," "Child of the King," "Regret,") "Memory Box" has an effortless melody, sweet variance in the chord progression (the verse has 3 chords in it I don't know the names of but the chorus has some of the oldest chord tricks in the book [C to G, anyone?] and the words are honest, speaking of love in terms of friendship only. In songwriting, my good, good friend Erik Johnson and I have influenced each other in distinct ways; I've encouraged him to consider different musical directions (like using the trick of writing an entirely separate chord progression for the bed of a solo, a feature this song happens to have) and he's inspired me to be more honest and introspective with my lyrics. Like many of the songs on "Ashes, Embers, and Old Flames," I had the music ready for "Memory Box" long before I had any idea what I was going to sing about. It was only when I reconnected on Facebook with a friend who had been very close in childhood that I felt truly inspired to write about love and the passage of time and how ancient feelings can stay with us forever. The song asks, "Was there more/less there than what we thought, were we too young to really understand our feelings or were they perfect because they were innocent and pure. How does what we carry with us our whole lives shape us in the present?