Page 91 - July ONLINE VERSION

Interview Series
ZGP: Where are some places your music produced but used in the right way, technology is a
has taken you? great asset.
BC: Back in the 1980’s I played locally with the
legendary Rayburn Anthony; a great guy, musi- ZGP: Do you think there is a genuine con-
cian, singer/songwriter. Anthony would go on the nection between music and the soul?
road with country music star Melba Montgomery. BC: Absolutely, the purest music is an expression of
Because of the connection I had with Anthony, I something someone feels and their ability to put it
got some road time with Montgomery as well. But down, arranging chords and placing melodies in a
most of my gigs have been in bars. The way I see it, certain way. When that comes out, it is like one soul
if you love what you are doing, when I’m playing my talking to other souls: the audience. The audience
music for people everything feels right in the world is extremely important because expressing yourself
at that moment. Just doing what you love is truly melodically without someone to share it with, is
satisfying and joyous. The interaction of a smaller like a painter without someone to appreciate the
ground is energizing. I had the pleasure of seeing creation. Sharing one’s own creative process with
By Tammy Yosich Led Zeppelin in 1972 in Long Beach, Pink Floyd others helps them to connect to their own emotions.

that same year at the Hollywood Ball – the Dark
William (Bill) Criss is a musician, superb sketch artist, and a profound lyri- Side of the Moon tour. The concerts were great but ZGP: Sharing is vulnerability?
cist. Criss is the embodiment of a humanitarian. His ideologies on life, love, unless you are on the front row, or even like today BC: Sure, I mean I put things out there only to later
and the pursuit of internal happiness are inspirational. have some close-up visuals through a big screen, wonder if it was terrible. You are opening your soul
you are watching these tiny figures way off. up for positive or negative interpretation. Trying to
ZGP: When did music start for you? by ear. Byron and Chris are just brilliant and taught ZGP: Who are some of your musical influ- force an emotion into a poetic box; it becomes clear
if what I’ve written was emotionally inspired or if I
BC: I had listened all my life, but in 1978 at the age me things I didn’t know I could do; like double was just trying to be a wordsmith. However, there
of 26, I bought my first drum set from Cecil’s Band- stroke rolls during solos that stuns the world. Once I ences? are times that people come along and can poetically
stand. I was working for the recreation department learned to do these, I found they weren’t as difficult BC: John Bonham, also referred to as “Bonzo”, he express themselves and put those lyrically to music,
was also a self-taught drummer. Keith Moon, I
and showed up one day with the drum set in as I perceived them to be.
mean I just love these wild guys. Back in the day, like Paul Simon. The music could be removed from
ZGP: Have you always been in Jackson, classic rock from the 60’s and 70’s – bands were so the music and it would still be brilliant, like “Vin-
Tennessee? distinctive. When you heard a certain band, you cent (Starry Starry Night)” by Don McLean. Often
BC: No, I was born in Grenada, Mississippi. My knew instantly who it was because each member the most touching words come from a place of pain.
family and I moved here before I started first grade. had a certain style. If you took John Bonham out of Blues music was derived from pain, but ironically
I lived here from first grade until I was sworn into Led Zeppelin or Keith Moon out of The Who and blues music also brings great joy to so many people.
the Marines in December 25, 1968 on my 17th switched them it would change the sound of each
birthday. My service wasn’t remarkable but I’m cer- band. Today, in my opinion, studio cuts are more ZGP: Is there freedom in honest, trans-
tainly proud to have served. homogenized and lose some of the distinction from parent expression?
the classic rock era. Studio guys are amazing, they BC: I believe there is a great deal of satisfaction
ZGP: I am grateful for your service. All can walk in put a chart in front of them, Steely Dan in knowing that your creativity touched people,
1978: The Late Ricky Deaton (Guitar) and Bill Criss (Drums). military service, in my opinion, is remark- would do that, they would bring in these guys like changed them for the better in some way. All forms
able. It is signing up to defend the Ameri- Chuck Rainey, who went to Lane College here back of art provides for this transparency that I beleive

the back of my car and my supervisor said, “Well, can way of life with all that a service man in 1959 I think, and they could just sit down and people appreciate and develop a connection.
play it.
look at that you just wasted your money.” We agreed or woman has to offer, including their life. Bill Criss not only expresses himself musically but
to disagree on that one. That drum set brought me ZGP: Do you think technology has helped also through superb sketch artistry. Such as this
a lot of joy. That drum set allowed me to play with portrait honoring his older brother Frank. “I like
some great guys – David Deaton, Charlie Baker, or hurt the music industry? that I was able to capture his affable and good-na-
Ricky Deaton, and Willie Evans in 1979. I had no BC: That is hard to say because there has been some tured demeanor,” says Bill.
great stuff that has come out that is timeless and
idea what I was doing, looking back I was proba-
bly awful, but they let me play with them anyway. I classic before they had all the gadgets they have
today. The Beatles started out with four track they
learned to play along the way. I did take some les- recorded on and it still sounds really good to me. If
sons from Byron Chaney and Chris Dickerson. Oth-
er than that, my entire drumming career I played 1970’s: Bill Criss (L) with fellow Marine anything, technology can cause things to be over- Continued Next Page
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