gravel toned dirt blues harp, shimmering harmonica colours, fourthrate slacklustre compositions, unmusical growl.
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Interview with h. da massa
Q: Tell us about a project you worked on you are especially proud of and why. What was your role?
A: i played harmonica on micah p. hinsons gospel of progress ... if youve heard the record you will know why im proud of it
Q: What are you working on at the moment?
A: relict, amp graveyard
Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?
A: hohner cross harp in G, 1958 shure green bullet, smokey amp (marlboro light), straight-up mic stand, 9v batteries.
Q: What's your typical work process?
A: anarchic, nonmusical
Q: What other musicians or music production professionals inspire you?
A: the late robert quine, the late howlin' wolf, the late cat iron, the late mississippi fred mcdowell, dave berman, tom waits
Q: Analog or digital and why?
Q: What's the biggest misconception about what you do?
A: that its somehow difficult
Q: What questions do you ask prospective clients?
A: what key are we in
Q: What advice do you have for a customer looking to hire a provider like you?
A: love your song before you hand it over
Q: How would you describe your style?
A: small scale biblical epics, i play less than any other harp player out there ... in a good way
Q: Which artist would you like to work with and why?
A: jim sclavunos
Q: Can you share one music production tip?
A: be a little bit out of time, be a little bit out of tune, the music will be better for it
Q: What type of music do you usually work on?
A: well-written songs
Q: What's your strongest skill?
Q: What do you bring to a song?
A: i will take a song that you love and make it sound a little better
Q: Describe the most common type of work you do for your clients.
A: session harp playing