As promised, here’s more of “Radio America: Poised to Take Over the Nation’s Playlist.” Read on as the band talks about radios, Americans, pocket knives, stolen cable, Tom’s Telecaster, and memories of Worcester…

By Michael Shivick

WHAT IS RADIO AMERICA ABOUT?

Tom:
It’s a bit of a blood-brotherhood. RadioAmericans are a roving brigade of like-minded fools. Radio America is like a pirates’ galleon, or a joint-stock venture; we steal from wherever we can and it’s all for one and one for all and no one goes home alone or hungry. It’s equal parts loyalty and passion. But seriously, I think we’d be happy very happy if we were to become known for being a band with great songs and a genuine, deep connection to our listeners.

Jesse:
A radio is a device that transmits information through sound, and “America” is used to describe the bi-continental land mass on one hemisphere of the planet. Radio America is about representing the views and ideologies of the RadioAmerican. RadioAmericans are integrated yet disposed, knowledgeable yet out of touch. A RadioAmerican can be a stubborn, inquisitive young kid, or an angry, rambling old fool. Keep your ear to the track. RadioAmericans are out there. You know who you are.

CAN YOU EXPLAIN HOW YOU CAME TOGETHER? WHAT IS THE PRESENT LIKE RIGHT NOW FOR YOU GUYS? WHERE ARE YOU GUYS HEADING IN THE FUTURE?

Tom:
Truth is, we have been good friends since we were kids. When I was a kid in school Jesse was the only other kid I knew who was as curious or obnoxious as I was and so I think that’s why we hit it off. He introduced me to pocket knives and atheism and reckless tree climbing and George Carlin and I taught him how to play guitar. When we were 19 or 20 we decided to be a real band. At least that’s how I remember it happening. As for the present, it’s work, work, work and try to hawk the record to as many folks as possible. You know, spread the gospel. The future, that’s another story. I’d like to think that the best thing possible that could happen would be if we could grow into the kind of group that has a real firm bond with our fans, like Babyshambles, Weezer or Rancid have with their fans. I think that those groups, to their fans, represent not just great music but also a certain ideal of how music ought to be made, shared, and discussed. I’d love to see Radio America become a people’s band, a band where our fans feel like they are a vital part of the functioning of our group.

Jesse:
Yeah, that’s about right. We played on the same baseball and soccer teams when we were young, and were the only ones on the team getting into loud music at the time. He was learning how to play guitar and my father had just bought me an acoustic at a yard sale. I had always wanted to play guitar. We both took lessons, but quickly learned that my guy was sh*t and that I was learning more vicariously from his instructor. The most recent months have been a change. All very good, some very sad, an upward climb on a bumpy road. You know. We’ve released our record “Raise High,” received some very flattering reviews, recorded some demos, slew some dragons, been to the bottom of the sea. We’re not too trapped in knowing where we are though. As far as the future, well, the future tastes like candy as always. We have just released “Raise High’” so we’re in no position to be recording more music. We’re really just focusing on playing shows, touring and the lot. We have a million songs and songs in development. We have plans to record a double-album next, but not sure when we’ll start recording. For now, we’re thinking of local tours, as well as romancing an idea of a short British tour, for we know some people in strategic places.

WHAT IMPACT HAS THE WORCESTER AREA HAD UPON MOLDING YOUR LIVES AND MUSIC?

Tom:
Worcester is square one. In my mind, I have two homes, Worcester and NYC, and I hold dual citizenship. But Worcester is definitely Radio America’s ancestral home and so it’s special in that regard. It’s where I was exposed to the whole world of art and music and the like. When things were going on in the Worcester arts communities, they always seemed to make events very accessible to young people and I was usually first in line. Later on, I learned that was not the case in a lot of other cities. I was a photo rat at the Craft Center, a poetry slam urchin with the Poet’s Asylum, and all that stuff meant the world to me. Hell, even WAM was free entry for minors! It was a completely free education waiting to be had! Anyway, all those people who were then at the Craft Center, Poet’s Asylum, Heywood Gallery had a lot of time for me and as a result taught me almost everything I know about art and craftsmanship, and about ethics of both.

Jesse:
The Worcester area was my home for 23 years straight, the only other place I have lived. I’ve been all over, worked all over, and played all over it. It’s hard to say how the Worcester area has shaped me, I know it has, but I can’t really cite specifically how. As far as music goes, the Worcester area has certainly molded me. When I was in my teens in the mid to late nineties, there was a really supportive, solid underground, all-ages music scene. Hardcore and punk rock bands were everywhere and so were the kids coming to see them. I fell in love with the idea of a community of like-minded kids coming together and banding together not just for the music, but for themselves and each other. The scene was an escape as much as the music was when on the stage or on the record player. It was also a good influence to be around new music and new groups, and being close physically to live groups was influential in helping me realize that we should do the same.

TO WHAT TO YOU ATTRIBUTE YOUR CURRENT LEVEL OF SUCCESS?Tom:
Well, I’d like to think that we write good, clever songs. And we also try to show up and support other musicians whenever we can, which I’d like to think people appreciate. Other than that, I’d have to attribute a lot of the progress we’ve made thus far to surrounding ourselves with good people, people who have gone really out of their way on our behalf. One of them is Tintern, our engineer/recording svengali in Worcester. He was interested in us when virtually no one else was and he’s helped us make two albums that we are very proud of, including “Raise High.” Similarly, Vincent, Mike, Steve and everyone else at Ralph’s were early champions of ours which was a big, big boost at the time. And in New York, our managers/label guys at Papercup Music/Mother West, Magnus Thompson and Charles Newman, really throw weight around for us. I wish we could take more credit, but we’d be lying.