The S&V Interview

"I put a good deal of thought into how my movies will look on home video."

Standards: Somebody has to set them. And when it came to creating the 20th-century template for how to properly sing popular music, one need look no further than Johnny Mathis, the romantic, soulful tenor whose range and control remain just as vibrant today as when he began taking lessons in the San Francisco area in the 1950s from opera singer and vocal teacher Connie Cox. And now, seven decades (!) into such a storied career, it only seems fitting that a four-disc collection called The Singles (Columbia/Legacy) brings together 87 of his best-loved songs, including such timeless, indelible classics like “Chances Are,” “It’s Not for Me to Say,” and “The Twelfth of Never” alongside rare but chart-busting gems like “Wonderful! Wonderful!” And it’s certainly no accident that the following phrase appears in the upper-right-hand corner of the cover, right underneath the gleaming old-school/vintage Columbia logo: “Guaranteed High-Fidelity.” Mathis, still quite spry at 80, called me from his residence in Los Angeles to discuss harnessing his influences to create his original vocal style, his singular microphone techniques, and the songs he still loves to sing. Chances are, you already know many of them by heart.

Forgive the imagery, but Jon Anderson is like the Energizer bunny of progressive music—he just keeps on going and going. The legendary founding Yes vocalist/lyricist forges ever onward like a man perpetually possessed by his muse, whether he's adding to his own solo canon or collaborating on shared-name releases with the likes of violinist Jean-Luc Ponty, Flower Kings guitarist/vocalist Roine Stolt, or his former fellow Yesmates in the short-lived but quite well-loved musically acrobatic acronym known alternately as ARW, or YES Featuring Jon Anderson - Trevor Rabin - Rick Wakeman.

Being appointed one of the queens of the alternative music scene was never one of Juliana Hatfield’s goals. But there she was, right in the thick of the then-burgeoning movement — first in the alt-rock trio Blake Babies, then as a titular solo artist known for meshing expressive vocals with intrinsically catchy melodies fueled by a combo punk-and-pop sensibility. “I was very moved by melody and harmony from a very early age,” Hatfield says. “It affected me very powerfully.” She recently reunited with her Juliana Hatfield Three compatriots, bassist Dean Fisher and drummer Todd Phillips, for the uber-catchy Whatever, My Love (American Laundromat Records), a 40-minute ride through Hatfield’s world of melodic, introspective angst, from the acoustic lament of being “Invisible” to the moth/flame dance of “Push Pin” to the odd-meter frustration of “Wood” (the latter of which features a cool, feedback-laden outro guitar loop). Hatfield, 47, and I got on the horn to discuss her vocal techniques and recording goals, her natural sense of melody, and her ongoing struggles with communication. Whatever and ever, amen.

Bruce Hornsby could never be accused of being an artist who rests on his laurels. "I’m such a different musician in every way than I was 20 years ago," he admits. Prime evidence of the master pianist's ongoing creative evolution can be found all over the double-disc Solo Concerts (Vanguard), where Hornsby explores a variety of styles from behind the keyboard: everything from blues ’n’ boogie to New Orleans funk to the tenets of modern classical music. He also recasts the character of some of his best-known songs, such as turning "The Valley Road" into a blues vamp and giving "Mandolin Rain" an indelible bluegrass stamp. Here, Hornsby, 59, and I discuss how he "makes friends" with new pianos, when and when not to use reverb, and his philosophy of A/B'ing to find the proper live SQ baseline. Pushing the creative envelope — that's just the way it is with Bruce Hornsby, and we hope it's something that never changes.

Post-Genesis, keyboard maestro Tony Banks has focused on his writing skills via a trilogy of classical-oriented releases, including his latest, 2018 effort, 5. We got on the line with Banks to discuss the evolution of his orchestral compositions, his ongoing appreciation for the surround sound mixes of the entire Genesis catalog and his solo material, and what he might (or might not) tackle next.