Ariel Pink, the Allah-Las, and Ryan Adams. Among his credits: founding the storied ‘90s indie rock band Further with his brother Darren; leading early-‘00s psychedelic country band Beachwood Sparks; and, in recent years, fronting GospelbeacH, whose music has drifted from rustic American Beauty-inspired rock to cozy late-‘70s AOR-inspired pop. GospelbeacH performs Thurs., Aug. 3, at the Echo. This interview by Chris Kissel." /> L.A. Record


August 1st, 2017 | Interviews

Brent Rademaker: I actually talked to him online recently. He came to a Beachwood show [once], back in the early 2000s. He asked us to be his band. We said, ‘Maybe!’ It sounded great. We thought, ‘Oh, man, this is going to be great. We’re going to be like The Band, we’ll back up him like Dylan, and we’ll open as Beachwood.’ But there was a stipulation, and Ryan doesn’t know to this day [that it was the reason Beachwood didn’t tour with him]—because his feelings were really hurt—that we had to play acoustic to open. Beachwood couldn’t rock. We had to play acoustic and then be electric for him.
That was the stipulation?
Brent Rademaker: That was what we were told. So we said no. All these years he was going around saying—or thinking—that we just dissed him. The other day I wrote him on Instagram and said, ‘I really love your new record.’ And he goes, ‘Ah, yeah, man, that night at the Mercury Lounge, or whatever, that really stung.’ And, I said, ‘No, dude, it’s fine. Man, you should have talked to me!’ He talked to the other guys. And I didn’t get the story straight—I thought they dissed him at the show. But my memory’s so bad, I forgot that we all said that we would do it until we found out we had to play acoustic. So I didn’t even tell him that, I just said, ‘Oh, water under the bridge, dude.’ And he said, ‘Maybe my enthusiasm came off weird.’ I told him it wouldn’t have worked out, and that he won out because he got Neal Casal. Meaning we were all pretty crazy but Neal is so chill and a superior musician. But it’s cool to know that people who are successful and famous still want something else. And he thought we were the modern day Grateful Dead, which is cool.
And who knows—maybe you wouldn’t be making the music you’re making now if it had gone down. I can’t say enough about how centered and comfortable Another Summer of Love sounds.
Brent Rademaker: I like the feeling of the old shoe. But you know, at this point, that’s what this music is. I have this cool sweater that my sister in law gave me, and everyone always has to touch it. I wear it to all the festivals and it holds you like that. That’s the record. The chord progressions and the sound of the guitar, the major sevenths and the lyrics, and that beat. It doesn’t tear your head off, and it doesn’t make you float. It’s right in the comfort zone. I dig that music so much. I’d do anything to go back in time, and be like … be who I am, in that scene. Out here. You know? Even when we came out here in the 80s, we were living that. When Darren and I got signed to Geffen they said, ‘These guys are a throwback to the Troubadour scene, they play Byrds covers.’ We’ve always been associated with that. If you watch the movie Dazed and Confused, that was my high school life, my junior high life. That’s why some of this music that came out in 80 and 81, like Hard Promises—I didn’t burn out on it then. I worked in a van shop, customizing vans, and it was like, ‘This is the new one from Petty,’ and you’d hear ‘Here Comes My Girl,’ or ‘Woman in Love.’ I’d be like, ‘I don’t know if I love this song or I hate it, it’s so great.’ The station that played it was so cool, they played Cheap Trick and they’d play Lynyrd Skynyrd and Molly Hatchet, and then they’d play the Records’ ‘Starry Eyes.’
Radio was amazing then. 
Brent Rademaker: It was fucking the best. That’s why these old timers write [songs like] ‘Radio Days’ or ‘Raised on Radio.’ I was born in the 60s. But we already did our big 60s trip, you know what I mean? I’m not into the 60s right now. I love the peace and love, but some of the music, I just don’t feel comfortable playing it. It’s just me. But people will think, ‘You’re crazy, because making a 70s record in 2017 is…’
Not really that different.
Brent Rademaker: Right. And I called it ‘Another Summer of Love.’ I just had to make sure that the guy doing the artwork—I said, ‘Please, nothing psychedelic.’ Because it doesn’t mean that. Look at the girl on the cover. To me, it seems so literal. Every summer could be a summer of love. Think about being a kid in the summer—you go on vacation, you fall in love. It never changes until you get married, but actually it still stays the same, because you can still go on vacations and …
It’s like a great song. It never gets old, you just discover new things about it.
Brent Rademaker: Love doesn’t age. 


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