EWFNO. Yes, sounds like a new text message code. EWFNO, EWFNO, EWFNO! Alright the meaning is very simple. Elliott Waits For No One. Say it three times as fast as you can! Elliott Waits For No One, two more times please. Kind of catchy, isn’t it? Well EWFNO has a sound unlike any band you’ve heard and perhaps with as much musical experience as well. The band covers a wide variety of vibes and rhythms. Just when you think you’ve got them figured out, the bridge takes you on another journey. EWFNO has the kind of hard core feel smoothed out with deep melody’s light and dark vibes. You will find tracks that you can enjoy, EWFNO makes sure of it.
EWFNO is that band you can hire to play behind any artist, modern or old. We strongly suggest giving an ear to EWFNO and see what direction, or journey perhaps, EWFNO takes you on. Listen and become inspired by EWFNO. We caught up with the members of EWFNO, Brian Troch, Jenny Franck and Jeff Tortora and shared a very interesting and great conversation with them that you are certain to find fascinating!
(Note to the readers, Elliott Waits for No One is made up of 3 core members, Brian Troch, Jenny Franck and Jeff Tortora, we caught up with all 3 members so to make things easier we have abbreviated each person’s answers as follows:
BT = BRIAN TROCH
JF = JENNY FRANCK
JT = JEFF TORTORA
Welcome to Fanbase Music Magazine, thank you for joining us. we would like to know more about the group Elliott Waits For No One, and also about you guys as members of the group. Can you tell us where you were all born, raised and where you are residing now?
BT: The core of the group and three main members are Brian Troch, Jenny Franck, and Jeff Tortora. Brian Troch [myself] was born and raised in Chicago but moved to Syracuse, NY (where I played Anas in Jesus Christ Superstar), and then to Boston and LA. Currently I reside in Wisconsin. Jenny Franck was born and raised in St Charles Illinois/Chicago, and currently resides in Wisconsin. Jeff Tortora was born and raised in Syracuse, NY and currently resides in Las Vegas. He plays for the Blue Man Group out there, and also with the world touring BMG.
The band members are as follows; Brian Troch-vocals/guitar/ acoustic/bass, Jenny Franck-vocals/guitar/acoustic, Jeff Tortora-vocals/drums/percussion, Jaben Pennell of Vibehouse
Productions-producer/mixer/engineer/guitar (Rockford, IL),
Michael James of Indie Pro Mix-guitar/keys/production (Los Angeles), Ryan Carney-cello (Chicago), Sam Hernandez– bass (Austin, TX), JD Provitt-trumpet (Chicago).
Brian, Jenny and Jeff, at what age respectively did each of you get into music?
BT: I started Music at the age of 10.
JF: I began reading music, learning scales, sometime in elementary school when I was able to join the school orchestra.
JT: The Womb/5 years old.
And who or what was each of your initial inspiration to get into music?
BT: I went to see Jesus Christ Superstar and it was over for me at 10 years old. Up until that point I always loved music. I especially loved singing and had a natural knack for it, as early as I can remember. After seeing that production as well as other musicals between ages 8-10 really sealed it for me though. I would say early on Jimi Hendrix was a HUGE influence; that and my grandmother playing early rhythm and blues constantly at a very early age.
JF: Not sure of my initial inspiration. I always gravitated towards music. As a kid, music was my comfort. Still is.
JT: My older brother Jim played the sax and I use to attend the Lyncourt school band concerts in our hometown of Syracuse NY. Seeing Mark Mayzzee on the drum set for some reason, the power of the drums I suppose, that’s when I believe I knew I would be a drummer; that’s one moment at least. I was just a little boy and my career was in the future but I knew that that’s what I would be doing for a living. Our cousin John gave us an electric guitar which was exciting, I always loved picking it up, and then the lunch boxes and garbage cans in my parents basement when I was 5 became my amazing “kit’’. My parents and family were always very supportive.
Was it during this time that you knew you were going into music?
BT: Yes, ABSOLUTELY!!! After that I got my first Guitar and was able to learn on my own very easily, soon after I got a small PA set up and started singing through it along to Motown and soul records such as Ottis Redding, Earth Wind And Fire, Sam Cooke, Temptations, 4-Tops, etc. Plus early hard rock and metal.
JF: Yes, I never thought I would do anything different.
Do you still remember your very first performance and show. How did it go? (For example, how did the vibe feel and what was the crowd turnout?)
BT: Actually my first show was unbelievable and it was a very large crowd and I was nervous as hell because I was only 14 (I had done some smaller party type gigs before that but this was my first show at a club) there was about 1,000 people there and it was INSANE, HAHA!
JF: Going back to my very FIRST solo performance ever SINGING was in church and it was terrible! I remember when it was my turn to sing my solo, I got so nervous I choked in the mic, and then I sneezed. I was very young. Maybe in first or second grade. I remember it was a very surreal experience for me, to hear my voice in a microphone with a room full of people. I got nervous.
JT: Well I had many first performances from School band to weddings to arenas, HAH. I’ll go with the first “official” rock band club gig. Our original/Metal/Punk cover band Iconoclasm back in 1987 seemed to be going ok at Ryan’s Cafe in Auburn NY – besides not being able to hear the other members that well – until the owner told us to stop, that people were leaving; we were just too loud. HAH. It really wasn’t the ideal crowd and place for us doing speed metal/punk, stylistically.
So, do you all play instruments and do vocals? which instruments did you start with, and at what age? (Include all others as well)
BT: My first instrument was the Cornet and Trumpet (age 10), then Drums (age 11), then Guitar and Vocals (age 12).
JF: I started out just practicing how to play the piano (age 6), without lessons. I joined my school orchestra to play violin at age 7. When band was offered, I quit the violin to play the clarinet at age 10. I continued playing the clarinet until I graduated High School. In the meantime, I began officially taking piano lessons around age 12, and shortly after starting piano lessons, I began playing and writing full songs on guitar.
JT: Drums-5 years old, guitar, 8 years old. Vocals came late teens early 20s.
Which artist and genre of music did you mainly listen to growing up? (List your favorites and why)
BT: I listened to a very broad spectrum of music growing up from rock to soul and Motown, hard rock, blues, metal (which was a big part of my earlier career), funk, folk, singer-songwriter, hip hop, classical, industrial. You name it and I pretty much like at least certain things from all genres. I would have to say overall though SOUL music was always my favourite and rock music; also simply because of the raw emotion put into it. I do like hip hop and some rave stuff a lot, for the beats, especially on the darker side of those genres. I am strongly influenced by one of my all-time favourites Tom Waits. As I said, I’ve never been one to listen to strictly one genre – how BORING would that be HA HA – that just says to me, someone who does that is not very open-minded HA HA!
JF: Anything on the oldies radio station. As a kid I listened to very different music than I do today, I can’t even say it influenced me, except maybe to lead me deeper into discovering what I consider more of a relatable sound that I can identify with. When I heard Debbie Gibson I adored her, and I later fell in love with Mariah Carey’s voice. As a kid, I pretty much loved everything I stumbled on. I even liked the New Kids On The Block! Back then, I had limited access to discover new music and I knew I just loved music. I had older brothers and I loved what they listened to as well. Warrant, Bon Jovi, B-52’s, Led Zeppelin, The Beastie Boys, The Pixies… the list goes on… It was around the 80’s. I do remember specifically how my mom never let me listen to Madonna, and I guess I never felt like I was missing out, because I never did get into her. Later I discovered Elliott Smith, and more singer-songwriters like that. That was what really opened my heart up.
JT: From Elvis and Neil Diamond to Queen, Rush, Pink Floyd, Zeppelin, Sabbath, Ozzy, Dio, Maiden, Priest, Scorpions. When I was a kid my parents had the 8 tracks Hot August Night by Neil Diamond and Aloha from Hawaii by Elvis Presley (Ron Tutt was the drummer on both, ha.) I happened to dig the songs and energy and their vocals and the drumming was exciting.
Then my older brother and I started listening to all the classic rock stuff and Metal. I liked the complexity and involved arrangements at the time of Rush and all the 70’s mystical elements and of course Neil Peart’s drumming. Queen, loved Freddie and the variety and drama/theatricalness of the songs. Everyone in the band musically and vocally was unique and great.
Pink Floyd, I loved the ambience, lyrics, the production. Album covers still remain one of my faves to this day. The Metal era, I loved that it was the heaviest of music known to me at the time – the power of it, dramatic and intense – and I equally loved the ballads as well.
What incident or moment do you feel was the most pivotal earlier in your career and why?
BT: I would say Getting on MTV with my old group Cyclone Temple was VERY pivotal in my career and then meeting up with manager Brad Keene, who introduced me to Jeff Tortora. Jeff was playing with Joey Belladonna from Anthrax at the time. We’ve been friends and song-writing partners ever since then. And of course mostly meeting Jenny and forming EWFNO is probably the most significant of all because I was able to be as creative as I want, without the cookie cutter restraints put on me in the past.
JF: I had a handful of moments to where I learned what works and what doesn’t for me when it comes to building a career in music. The most pivotal would have to be making it into Round 1 of the Grammy nominations. At that time it didn’t even enter into my mind that was ever an option. A friend of mine contacted me by phone to let me know that they voted for me. I remember the phone dropped from my hands… HA HA. It’s things like that, when they happen along the way, that turns life into a real journey.
JT: When I was playing at Syleen’s Rhythm Place in my hometown back in ’99 with [The United Booty Foundation] a disco cover band I was in at the time, (plus I would go out front and sing Rage Against The Machine, NIN, etc, ha. Not that early in my career but super pivotal.) A casting agent [Kat Gillette] for Blue Man at the time, approached me about auditioning for Blue Man Group who was about to open a show in Las Vegas. Fast forward a couple of months and I was on route to Las Vegas and still there today, but actually back that up. A few years before that I ended up playing with Joey Belladonna lead singer of Anthrax as he was from the area. He had a solo band Belladonna he was putting together with Paul Mocci on bass, and Paul Crook on guitar from Jersey. Paul Crook later became Meatloaf’s guitar player and MD. They came and saw me play at a club in Syracuse after a recommendation from Soundman’s friend Scott Sterling. We went to dinner, I went over Joey’s house and jammed. They offered me the gig in 1992/93. Fast forward a few years, Berkeley professor, Leviathan recording artist Joe Stump who I ended up recording a couple of instrumental albums with joined the band along with bassist Jimmy Puma and that was the newer version of Belladonna, after that disbanded, I met Brian through Stumps manager Brad Keene (who I became friends with) at the time and we formed Shooting Hemlock and recorded a 17 song record called Clockwatcher. Later that got released through Dark Star Records under Big Green Monster and Coloured Spackled Empty. That’s when I first met Brian, and lo and behold, 20 plus years later we are at it again!
If you could go back and change anything, what would it be and why?
BT: Maybe would have eased up on the partying a bit HAHAHA!!! For obvious reasons!!! Also I would have not left Cyclone Temple and stuck it out for the My Friend Lonely release. I’ve always thought I left too much on the table when I walked, but I saw the end of the Thrash Metal era and I was moving on creatively.
JF: I can’t say I would change anything that has already happened because every experience has defined me up to this point. Some have made me broken in some ways, in other ways they have made me stronger. The important thing for me to remember is to always keep my mind moving forward.
JT: I would’ve been more hungry to take in information, or practice more but I operate a little differently; and while it works out for me in ways, I still should’ve/should focus more HA! I took lessons and did all the school bands for many many years, and I can read drum music. The music theory just didn’t sink in as well with me, while I do think it’s great to have a raw sensibility. I studied once but now I don’t care as much about not knowing the theory ‘cause I realize it’s not my forte and that’s not where the passion lies, HA! Don’t get me wrong I did have a desire to be in the scene and meet people and all that, but I was younger and did meet the local musicians from all styles. I just learned how to do it much better when I got older and moved to Vegas. Being in BMG helped quite a bit. Kinda obvious I guess due to being older and the circumstances. I act much younger maturity wise. HAHAHA.
Do you write your own material?
BT: Yes, but there are times when I will do songs others have written if they are within our circle. Now that doesn’t mean I don’t collaborate because I’m all about that and EWFNO is all about that. Jenny, Jeff, and I have no egos when it comes to our writing. We go with whoever sounds best for that particular part or track. We all have our parts that we bring to the mix.
JF: Yes. EWFNO is especially exciting for me because it is my first real writing collaboration.
JT: Yes, with some help of a select few on a few tunes. I had a few songs written like “Like You’’ that I wrote many years back and we just kept most of it the way it was besides a few upgraded ambient parts. A lot of the time I will send Brian a riff or some little idea and fast forward a week later he will send me a whole tune finished! Between Jenny, Brian and I each of us has their own style and it somehow hopefully meshes together! Brian and I have a really easy way to play off of each other that comes naturally. I have 3,793,939 ideas and he helps put them together for me. I really also enjoy when Jenny or Brian has a tune, adding my own little element or idea to their pretty much finished product that will take it in a little different place then it might’ve been, or add to the place where it already was. They are both TOTALLY open to any and all suggestions as was Jaben in the studio which is CRUCIAL for me to have that freedom. Throw in the kitchen sink and then subtract if need be later haha. Also they throw me stuff to do and I’m like ok I’ll give it a whirl. It is quite cool. We enjoy adding whatever instrumentation we think it needs without worrying about will it sell? Is it what’s in now? Don’t get me wrong, I do think there is a way for things to sound dated, so we don’t want that but we are also not 15 or 20 years old. We are from a different generation, but have much experience and with an openness to new music, old music, music in-between, so I think EWFNO can be enjoyed by anyone for the most part. It’s quite eclectic but still flows…hopefully, HA.
Explain or define your genre or category of music?
BT: That’s a tough one, we consider it alternative or alternative rock but we touch on so many different flavours that we don’t really believe in pigeon-holing ourselves. We are just finishing up a track that sounds like Ottis Redding meets Joe Cocker (HAHA) with nasty horns in it. It’s a song we are doing for Charlie Brown from the late 60’s Chicago Bears team. It was Charlie’s idea that we record a song and issue a challenge to Dan Hampton and Steve McMichael’s blues band in Chicago formed from the great 1985 Super Bowl team, and do a donation contest to where whosever song raises the most wins the challenge but ALL the donations ultimately go to Charlie Brown’s fundraising charity called “Coats For Kids”. It provides BRAND NEW quality winter coats for needy inner city kids mostly on the South and West sides of Chicago. Charlie said last time he did a fundraiser it brought tears to his eyes to see how excited and thankful these children were for something like a winter coat in such a cold environment such as Chicago. Sometimes we all forget the simple things and necessities we take for granted every day. I would like to do the same thing with shoes, food, etc. and maybe include more genres of music along with other musicians. This is a passion of EWFNO and our company, Neoteric Nutra, helping those in need. I just went off point there a bit, HAHA! I would say the short answer is our music is whatever we want it to be.
JF: It’s in the ‘Anything Goes’ genre. After we’ve completed writing this specific album, as a whole I hear it as falling into the ‘singer/ songwriter, rock/alternative’ genre. No surprise there.
JT: Anything goes in the realm of rock and beyond. Classic, modern, alternative, metal, singer/songwriter, miscellaneous rock, HA.
When in the studio, how do you prepare for a session?
BT: Sometimes, depending on the song, yes a couple drinks HAHA. But I would say overall it’s more of a mental preparation. Actually I really don’t have to do some lengthy preparation as I have the ability to shut it on and off like a switch and as soon as those cans go on my head and I’m behind the mic I just simply BRING IT!!! It’s something I’ve always been able to do and that ability has been honed over the years to where I can just reach down deep inside and block the rest of the world out and just deliver my emotions through song and performance. It’s almost like I just put myself in another place revisit the emotion of what caused me to write the song in the first place and if someone else wrote it I do the same thing, just my own interpretation of the emotions.
JF: It’s all mental. Visualizing and identifying the specific mood, and placing myself in that frame of mind in front of a mic and a wall have always been difficult for me. Thankfully our studio engineer, Jaben Pennell provides the best most comfortable atmosphere for me to concur this experience. I have learned a lot recording with Brian, too. He is very animated and holds the voice of many different genres.
JT: Listen to the song, hopefully ha! Try to be relaxed but excited at the same time and play what’s natural and inspiring and then listen to the take and if need be come up with changes and apply for the next take, be prepared to record but not over prepared as to let any inspiration in.
In addition what do you think it takes to make a good track?
BT: I would say doing pre-production, and pre-production roughs and listening back and tweaking is SO vital, that and writing lyrics that are heartfelt and well thought out. Also we believe if a song cannot be stripped down to its basic form and emptied out, for example an acoustic version of it or a beat and vocal and maybe one other instrument, then it’s not a well written song to begin with and it’s time to go back to the drawing board.
JF: Everything. It takes everything and everyone involved. A great track is 100% the best of each person participating, the best instrument placement for the best tone, the best mood, the best effort, the best mixing, the best equipment to record the best type of sound the specific song requires. It’s really not the easiest thing to do and at the end of each recording day, I’m completely exhausted. Before we even get to the point of recording, there is writing the song, and then pre-production of the song. For me, each of those tasks is very different than the actual studio recording task. Every step has its own process. It is something that takes the very best effort, thought, and skill that you have inside of you.
JT: Hopefully you are rested and feeling healthy HA. It takes a good producer/engineer to get the right sounds and for a comfortable vibe, not to feel rushed and the freedom to play what you need to without feeling pressured. Of course there is time involved, so hopefully it doesn’t cost tons of cash sometimes; hopefully you like the song HAHA; that helps! And your instrument is sounding good and feeling good to you and you have a good headphone mix.
Wintertime in June”, the change in melodies, directions was cool. The intro was dope! I could have vibe off that entire track. Guitar solo was cool. Based on this track alone, I’m hearing a score for films. Have you considered this option?
BT: Most definitely! And our mastering producer, The Great Howie Wienberg, did a pass that was all instrumental as well in case film producers wanted that. Wintertime turned out soooo cool and yes. I love intro vibe as well and would love to do a whole song with that vibe and most likely will HAHA! The changes of vocal/vibe and instrumentation really conveyed my anguish at the time I wrote it. Actually it started with one guitar riff Jeff sent to me and two days later I was sending Jeff what would be the first version of that song. Then I decided to change the intro and was very happy I did because it turned out tremendous and really elevated it when the band full out kicks in!!
JF: Brian decided to change up that intro at the last minute on a whim and it worked out amazingly!
JT: That Wintertime intro was an addition that Brian did at the last minute and it is really a cool part! Took me by surprise. Yes, definitely hearing many songs that would be great in films and scoring, hey, open to any and all options, that one for sure is up there!
How long have you been in the business and how many CD’s to date have you released?
BT: I’ve been in the business for 30 years and have 10 releases under my belt and this EWFNO’s 1st release.
JF: I’ve been in the business for about 15 years, and have done 7 album releases. EWFNO will be my 8th release.
JT: Professionally since 15 and this is EWFNO’s first.
Elaborate on your connection to “The Blue Man Group?”
BT: Jeff Tortora, my friend and drummer and our band mate/ songwriting partner in EWFNO plays for the Blue Man Group out of Vegas and the World Touring Blue Man Group.
JF: Jeff Tortora, our drummer and writing partner, is one of Brian’s BFF’s for I don’t know how long, seems like since they were kids! I first met Jeff about 6 months prior to writing this album with him. My first impression of him was that he was a solid, stand up dude. He’s also very detail oriented.
JT: I am one of the original drummers in the Las Vegas production since it opened in March of 2000. Also for the past 2 years have been on a World Tour with the show as well.
Business wise, what do you feel the industry is missing or needs to change, improve etc?
BT: Oh man, where do I start on this one HA! I mean in a way the digital age and the streaming platform has made it way easier for artists to get their stuff out there. But at the same time it has created this climate of “everyone is a recording artist” and unfortunately it has watered down the talent pool and fed into our megalomaniacal society where everyone is a star. It also made it much harder for artists to make money. Things have completely reversed from the way it used to be, meaning the product or the release was the income generator and the tours were simply to promote said release. And Merchandise was just icing on the cake and very reasonably priced. Nowadays its the opposite and you make money off of touring and Merchandise and people pretty much expect you to give your music away for free. The licensing end of the business has picked up immensely though and so has the DJ end of things as well as Rave and Techno. Hip hop artists have benefited a lot from this turn around though as they are able to get singles out quickly and when it’s all said and done if you protect your content properly you can still make money of your songs. My son loves an artist called “BONES” and he built a whole following around the singles he drops on a regular basis through social media and streaming outlets such as Soundcloud, Youtube, and Spotify. There are still Distribution deals to had as well if you have a finished/ Mastered product that is of great quality along with unique artwork. Tons of people opt to release themselves or do a combination of P&D deals along with tunes, Tune Core Etc. Kendrick Lamar is a prime example of that. His Manager Top dawg has them distributed through Interscope and Also has it on Other streaming and digital release platforms. You have to be way more business savvy nowadays, gone are the days of artist development and you can’t just be simply “ a musician” anymore, you have to take charge of your own destiny and go after that shit!!!
JF: There is a long list. I’d have to write a book if I wanted to mention everything. But we can start at the creation level. I strongly feel there is a general struggle with the need to find a balance between technology, creativity, and emotion. Also, accessibility in a way has become almost too vast. Accessibility via streaming (and other avenues) needs some better guidelines so songwriters can get paid for what they do. Too much accessibility to the actual person doing the songwriting can potentially kill creativity and imagination. As a society I believe we are still at the beginning stages in figuring out how to shift with technology and still make it work and identify with our human nature. This all pertains to the industry because what we essentially create when we make music is emotion. Not allowing technology to take over the emotion seems to be tricky. A feeling, a mood, an experience. As a songwriter I especially feel like I am faced with the challenge of mixing technology, creativity, and emotion. And I’m also proud to say I really feel like this album has accomplished that.
JT: Great question. What do u think?? HA. I don’t really have the answers except that I do think there is enough room for all types of musical genres to have success, of course different generations come up and music trends are there and change and then revert back, this has gone on forever so it’s nothing new and of course people have to like your stuff as well but I think as long as its quality music and has some sort of freshness happening with it or if it is just that damn good then the biz should push it and people will then be exposed to it.
And of course, pay the musicians fairly. I know most people don’t purchase music anymore and pay for a subscription service like Spotify or iTunes I just wonder if the compensation rate is fair. I honestly don’t know the details, soon to find out ha. I’ll update this if I have an epiphany.
Where do you see yourselves in five years? (Or where would you like to be, mogul, etc)
BT: I see myself as master of all I survey HAHAHA!! In all seriousness though, I see myself to be in a position to help people and possibly start a new label and help upcoming artists. Our Pure Hemp Extract Company, NEOTERIC NUTRA will play big part in all of this as well. It’s a combination of those two things that we believe will be world changing. In addition, I see EWFNO doing more albums and touring and really making an impact on the music world. I have done theatre and acting in the past as well as a speaking part in a movie so maybe there is more of that in my future as well, who knows, the world is my oyster and I just need put some hot sauce in that shit and suck it down HAHAHA!! JF: In 5 years I see myself doing exactly what I’m doing today, just on a bigger level.
JT: Having a few successful EWFNO albums under our belt. (Successful = happy with ourselves, and having it widely accepted wouldn’t suck!) Having done many great shows with the highest calibre of sound, lights, production with music portrayed in an original unique way. Co-producing the show. Have a nice role in a TV series or movie that happens to fit me just perfectly, still doing my band Tinnitus, and working on new Blue Man Group material!
Which artists would you like to work with and why?
BT: I would say this; I would like to work with any artist who wants to work with me because I believe music crosses all cultural, racial, and geographical divides. It is truly the international language. If I was to list all the artists specifically, I would never finish the interview, HA.
JF: I have a handful of artists I dream about working with. Artists like Jewel, Tori Amos, Fiona Apple, Alanis Morrissette, Sheryl Crow.. these female singer songwriters were my role models. Their music made it into the mainstream. THEY made it without compromising their values. I feel that they are some of the best examples of what a feminist looked like, before feminism became cool. They refuse to be recognized for their outer beauty, but they also aren’t afraid of being beautiful. They took a stand for women in the industry at a time when no one was standing up. They all started from humble beginnings and paved their own career path. JT: Mike Patton of Faith No More because I love his energy, creativity, uniqueness, unpredictability, Chaos! Maynard of Tool for similar things yet in a different way. Jimmy Gnecco of Ours, pure emotion, Aaron Bruno of Awolnation, a nice catchy variety, And of course there are more, but I am simplifying it for now. And those are just other singers to collaborate with.
Do you produce any other groups, artists?
BT: At this time I do not, just because of time constraints. But it is something that I most definitely am considering moving forward. JF: I have never produced any other groups or artists. The idea of doing something like that someday sounds intriguing. Right now, I still have sooo much more songs and material I would really like to continue to focus on developing with EWFNO at this current moment.
JT: Not currently but…
Apart from music what are your hobbies?
BT: Working out, woodworking (creating and designing furniture pieces and building them in my shop), antique restoration, bike riding, painting, cooking, hiking, nature, writing, gardening, spending time with Jenny and my 2 boys, Michael and Parker.
(Needless to say that I’m always on the go, HA!)
JF: I love rollerblading, hiking. Being around nature, animals.
One day I would love to learn how to paint.
JT: Finding great Italian food and vegetarian restaurants. Juice/ smoothie places, the absolute best coffee shops when I am on the caffeine wagon. Checking out shows, spending as much time as possible with my girlfriend in nature, weekend getaways, and with pigs.
Tell us about “Neoteric Nutra”?
BT: NEOTERIC NUTRA is a Pure nano encapsulated Hemp Extract Company with Extraordinary Science to back it up. The formulation (or emulsion) was developed and patented by a biotech company I own stock in and have a seat on board of called ANANDA SCIENTIFIC. Neoteric Nutra delivers hemp extract at a bioavailability rate of 100%. It is also 100% water soluble. This will change medicine as we know it and help literally millions, if not billions of people. Jenny and I branded Neoteric Nutra a year ago and are breaking into new markets, including As Seen On TV Productions in August. We just recently did an in studio interview for NEWS WATCH in Washington DC. That interview airs on AMC on July 9th at 7am EST for 95 million households. We talk about Neoteric Nutra and Elliott Waits For No One (EWFNO). You can see our press releases and what we do more in depth simply by googling Neoteric Nutra. It fights everything from inflammation to chronic ailments, and out performs ANY other product.
JF: Neoteric Nutra is a nano encapsulated pure hemp extract. It’s something I take every day, a couple times per day. There are so many physical things it has helped me with. Brian and I cofounded the company after we met Dr Mark Rosenfeld, the scientist who invented the nano encapsulation. Brian’s father tried the formulation after he had a stroke, then Brian and I tried it out. Our friends and other family members began asking us for it. We decided to create our own company and use our music as a platform to get the word out there that this exists, and anyone having pain or certain diseases or chronic conditions may not have to suffer so much. Dr Rosenfeld’s formulation is so far ahead of everything when it comes to this industry. It’s very exciting and it’s really great to see it helping so many people we love.
What’s next for EWFNO? (Tours, tracks, videos, etc)
BT: We are currently in pre-production for our next album and are in the middle of negotiating several record deal options and are planning a video also which will be really fantastic if we can do the story board I have in mind, and secure the well-known actors to make a cameo appearance in it. Hopefully some Huge shows and really just more writing (that is a constant process) and getting our music into a film would also be amazing.
JF: Whatever is next for EWFNO, I am ready for it. The sky is the limit! I’m really proud of what we’ve done together. JT: Someone giving us $1,000,000 ha, and to do what we want to do. All of what you mentioned. To keep being creative in whatever form that may be.
What advice do you have for up-and-coming artists?
BT: If you’re serious about being an artist then be an artist; to have your only aspiration be the chasing of stardom and money is superficial at best and will not last. If you are true to yourself and write from the heart and develop your craft all that other stuff will follow. Also I would say it’s not the 70’s HAHA, so being a wasted musician doesn’t cut it anymore. Remember YOU are in control of your own destiny so try and block out the negative influences in your life because that will make its way into your music and artistry. Stay Positive always and help others. And of course , HAVE FUN!!!! 🙂
JF: Do your thing, keep doing your thing and don’t give up. You can’t grow if you don’t change, you can’t change if you don’t take any risks. Being an artist is a way of life, it’s not a career, and it’s not some 9-5 job. There will be days you will hate yourself because of it, and those are the days you have to learn to embrace it the most. Don’t ever discount yourself before your path is paved.
JT: Play because you love it, create the best music you are capable of, have a great attitude, be cool, be yourself, network, be careful, take care of yourself and each other mentally and physically, don’t party to much. Try and be unique in your own way without making it forced. Surround yourself with good peeps.
Provide a list of thanks, shout outs, etc.
BT: I would like to thank- Howie Weinberg and Will Bortz( Howie
Weinberg Mastering), Michael James(Indie Pro Mix), Jaben
Pennell (Vibehouse Productions), Gee Fulltone (Cyclone Temple, Sweet Diesel Jenkins) ) Andre “cat daddy’ Taylor , Brad Keene, mom and dad, Mark Serpico, Joe Dalsanto, Linda Mensch(Leavens Strand and Glover), Carlo Basile and
Saraswathi Ranganathan (Surabhi Ensemble), Dr Mark Rosenfeld(Ananda Scientific), Chad VonHaden(a true inspiration and fighter) Shure Microphones, Takamine Guitars, Fender guitars, round glass music awards, grammy awards, Sony Records and also everyone who kicked me while I was down and left me for dead hahaha , thanks, without you any of you this wouldn’t have been possible, you were a true inspiration to me! JF: Our other producers, writers, players on the album; Jaben
Pennell, Michael James, Sam Hernandez, Ryan Carney, John
David (JD) Provitt. Very special thanks to Jaben and Michael James. You both came into my life at the exact moment I needed you most. Thank you for being there. And of course Brian Troch, Jeff Tortora.. I love you guys and so honored to be able to have this opportunity to write with you…. Shout out to DRE for hooking us up with this interview! And for just being you! FAM!!!!
JT: Sabian Cymbals, DW drums, Vic Firth Sticks. SweetWater
Blue Man Group. Cirque Du Soleil. My girlfriend Nichola Burnett. My Family. Very special thanks to Brian Troch and Jenny Franck whom without, EWFNO wouldn’t be possible. Jaben Pennell and Vibehouse Productions as well. Counts Desert Moon Studios. AJ
Mcready, Stoney Curtis, Danny “The Count” Koker, Tony Carboney, Jacob Chidester, Tim Tremaine, Schoolhouse 13 Productions