Tim Chandler is a modern day superhero. A man who by day works as a mild mannered techno propeller headed good guy, and by night transforms into one of the world's most creative bass players. He is revered by a fairly rabid group of fans from both Daniel Amos, and The Choir (this opening section has a liberal dose of flattery intended to put the interviewee at ease, and more or less lull him (and the reader) into a false sense of security). He's won a Dove Award, received a Grammy nomination, went to said Awards ceremony, and lost (to DC Talk's pastiche album of all things, but I'm sure he's not bitter).

And I honestly wasn't bitter about DC Talk winning the Grammy. It was just fun to go to the ceremony and then watch my wife zigzag all over the grounds, attempting to get into the sight-line of Elvis Costello so that he would be socially forced to say hello to her.

I believe you, really, but I'm just getting into my flow here, and I want to get through the intro if you can just wait a bit longer. I went to a lot of trouble putting this together and dang it man; I'm going to get through it.

(Folks, is it just me, or does ol' Jev seem sorta tightly wound?)

3, 2, 1 … (continuing) He's played bass with Tonio K, Lost Dogs, and shared a stage with Dennis Holt who played with Kerry Livgren and Kansas (how's that for degrees of separation?).

After Jerry Chamberlain's departure from Daniel Amos in the early 80's and before the arrival of DA's resident rocket scientist Greg Flesch, he strapped on the six string and showed some okay chops, lots of twang bar stuff - Adrian Belew would approve. He also has a Windex driven alter ego who makes Mister Hyde look like a youth pastor obsessed with the written work of Robert Tilton.

Wait: "...a Windex driven alter ego who makes Mister Hyde look like a youth pastor obsessed with the written work of Robert Tilton." what? I'm not even sure what that sentence means, but I'd like to clear a couple of things up. There really is a guy named Berger Roy Al who lives in Lubbock Texas. He played bass on "Let's Spin" and "Outdoor Elvis" but I've played live with the Eddies because Berger is somewhat, um...troubled and can't handle the pressure of a live performance.

La la la, I can't hear you. Tim, please don't interrupt, it's not your turn. I'm still setting this up. Where was now where was I …

(cough) When I first thought of approaching DA for an interview I thought it would be great to bounce questions off Terry; but Terry's always spouting off about something, and quite frankly I'm tired of hearing about all the stuff Terry does. Blah blah blah and all that. I considered giving Ed a shout, but he's a drummer, and if I've learned anything from watching Spinal Tap, it's that you don't want to draw too much attention to the drummer. It would be like making the guy wear the red shirt on the old Star Trek. Greg? Well, he's too smart for me, and I'm not big on looking stupid (at least more stupid than usual). That left Tim, the bass player (sigh). Sure there have been some cool bass players, Sting, Donald "Duck" Dunn, and Derek Smalls, but for the most part …. Oh well, he is in the band, and he seems to be approachable. So I set my sights on the youngest member of the band, and started to work my way through the gatekeepers these big rock stars surround themselves with. In other words I wrote him a letter asking for some time.

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And So It Goes … (pretty clever reference to Buechner's Dream if I do say so myself)

Tim, here we are it's 2003, and it's been twenty odd years ago since Doppelganger introduced you as the new guy in Daniel Amos to the world. How strange is it looking back and seeing all that you've done?

As far as looking back, I sometimes think about all that wasn't done. I mean, feature this: I've been with DA since 1981 and we haven't toured since 1987 (and that was a really short tour.) that means that even for Terry, he's spent more time in DA NOT touring than touring (It's great that he's touring more now -- with Lost Dogs/Terry & Mike [Roe of 77s fame]).

Musically Daniel Amos has charted some pretty broad territory. The balance between artistic expression and audience acceptance is a pretty fickle beast, and it seems like the more artistic and expressive the band became, fewer and fewer people bought in to the band's vision. Is there ever a twinge of regret for not taking the road more traveled?

Not for a moment. Because we wouldn't have known how to do it if we'd wanted to (which we honestly never did. that subject has never come up in all the years I've been in the band.) and personally, for me, that's exactly why I'm not some big studio session player in Nashville or Los Angeles. It takes a certain talent to know how to play it straight. And I ain't got it; I'm not good enough to do that. I don't know how to do that. (I'll be honest and admit that I don't respect that particular talent at all, but I do recognize it as a talent that I don't have.). Music sounds and feels a very particular way to me. That's all I've got.

In a way I'd say that you're having the last laugh. The body of work you have been part of creating, especially with DA has managed to have a pretty decent shelf life. Even pieces like Vox Humana have some songs that are holding up pretty well. I can't believe that was an 8-track recording.

In terms of success, Daniel Amos has had it's share of critical accolades. The number of young bands who point to the body of work released by the band as key influences on their style are the stuff of legend. To many long time Daniel Amos fans Mister Buechner's Dream was the marrying of the cowboy hats with the weird hair, in a way it's almost like the Beatles White Album in it's diversity. Two discs and no filler, an unbelievable accomplishment. Yet it hardly registered with the public. How big a blow to the band was the collapse of the distributor, and the subsequent scramble to push the album out through the channel? I can only assume the band made back it's investment, but really, it must take the wind out of the sails. Is this the last we've heard of the band?

Well, we've never really registered with the public much. Why, I'd bet we've had about as much impact on the public with our music as you've had on the public with your little websi-- ... I mean...um, sorry man. You know what i mean.

(I don't understand ... )

And unless anyone was harboring private feelings to the contrary, I think everyone in the band would agree that we didn't expect MBD to sell a lot of records. Took the wind out of our sails? Are you kidding? Do you know what this band has been through in the past? This is a group of people who are well aquainted with adversity. "Taking the wind out of our sails" would have to be something like if everyone in the band had their house simultaneously burn to the ground in one afternoon. "Hey, Greg my house just burned to the ground." "What a shame. So did mine and so did Terry's and Ed's. I find that I am not currently in the highest of spirits."

And no, I really don't think MBD was the last you'll hear of DA.

(A cheer goes up from the band's fans)

Terry Taylor and Daniel Amos seem to be synonymous to a lot of people. Which is natural to a degree, he's the front man and he's the lyricist, however, does it ever get a little annoying? I mean really, there are others in the band who are just as much a part of Daniel Amos - do you guys ever get tempted to speak up and say, "Look at what I did!"

Nah, not anymore. It was a little annoying a long time ago because, at one point, some people actually thought that Terry literally wrote out every note that everybody in the band ever played. And everyone knows it was Ed that actually wrote out every note that everybody in the band ever played. I wouldn't know what to do if it weren't for Ed. And I don't just mean musically!

...I have no idea what I mean.

So what you're saying is that the Walrus was Ed? Wow, and all this time I was sure it was Paul.

Hey, what do you think of this whole Internet thing? There's a seriously wacky community of fans on the message boards for both Daniel Amos, and The Choir. You seem to be pretty accessible, which I think is really great. By default most bands have one person who gets assigned the role of Mister Meet and Greet. Do the other guys hang out in ghost mode, or do they stay away like the plague?

No one in the band ever asked me to be Mister Meet and Greet, it's just that I have easier daily access to a computer than anyone else other than Greg (and he's even busier than I am.) for awhile I didn't really know if people wanted us to drop by or if it would be weird if a band member was always checking in - you know, maybe people want that space for themselves or something. But then I noticed someone complaining that no one from the band ever showed up on the board, and so, since it was possible for me to do so, I wanted to make myself available. We really appreciate these people who've stuck with us all these years and still stay with us. To me, it's an incredible community, this feeling of family, almost. And all they're getting is the bass player, after all. Everyone just relax.

I think it's refreshing to see a band interact in a real way with their fans. You've had a doubly blessed career, in that you've been able to be an integral part of not one, but two bands the average person's never heard of. Of course I'm referring to The Choir. Here's an interesting band. Lots of hits on Christian rock radio (can someone explain what that is to me offline, I'm curious as I've never heard of it, and the only CCM I ever hear on the radio isn't all that appealing), and a sound completely different than that of DA. Was it ever weird for you bouncing back and forth between bands?

No, not for a moment. There are a lot of people who love one band and hate the other and can't imagine those other folks who hate the band THEY love and love the band THEY hate. And then it's even more complicated when some of them like one band a little but the other one more and then, also, the other way around, in terms of the OTHER band.

...If that makes any sense at all, please explain it back to me.

I guess you mean that some people like one, but not the other, some like both, and those that don't like one are baffled as to why they like the other but not the one they like, unless they like both, then they wonder why the ones who only like one and not the other one but not both?

...I have absolutely no idea what you're talking about.

But there's obviously some common ground there. Different approaches from different angles towards the same spot. (There's a reason that Terry and Derri [Daugherty] ended up in a band together. there's also a reason I can't order "Moons Over My Hammy" out loud from a "Denny's" restaurant menu. I'd rather not talk about it.)

Sounds like a great story, for another time. (looking at my watch) Moving right along. The Grammy Awards - how big a coup was it for you guys getting a small budget indie album on the ballot against the big guns of the industry machine?

We thought it was a complete mistake on the Grammy committee's part, up to and including the moment we actually walked into the building.

And how was not winning there any different than not winning at say, the Dove awards? Oh wait, you guys did win a Dove. What was that like, and is it really one quarter moisturizing cream?

I was still living in Los Angeles during that particular Dove Awards ceremony. I was busy teaching a computer networking class that night, so I wasn't there in Nashville. You'd have to ask Dan. (you'll recognize him, he's in all the band PHOTOS.) (And yes, it IS ONE QUARTER moisturizing cream--again, having to do with Dan...again, I'm not sure exactly what I mean.)

(Dan was unavailable for comment)

(Jevon, all ya gotta do is tell him you'd like a photo to go along with the comment.)

(Tried again and again, Dan was still unavailable for comment, or he's hiding from me)

You've developed a playing style that is pretty much yours, in that you play the bass like Marlon Brando spoke in the Godfather (stay with me, this is going somewhere). The notes appear to be mumbled and slurred but they dance over all the right notes. You've filled in on lead guitars and even played some keyboards. Do you ever get the urge to noodle out tunes of your own?

The Brando comparison is probably way too complimentary. On the other hand, Brando has been referred to as nothing more than an over-rated, over-inflated, pretentious, giant mound of pompous, jiggling... ...where was I?

(Looking over to see where Tim is, I take a guess and point a little to his left)

(Thank you.)

What I TRIED to do over the years was to force myself to change and expand (like Brando?) and do something new each time around. (That may not have happened, but I tried.) I get bored with my own playing pretty easily. So, most recently, it's developed into this slurred, stumbling thing you mentioned, which to me feels natural. But I understand when someone accuses me of over-playing and in some cases I think they're right. I didn't mean to, but in retrospect I can sometimes hear that.

I mean, it's only a freakin' bass part! It's entirely possible that I just took the whole thing way too seriously from the very beginning, know what I mean?

(I nod knowingly as I think about the bass playing on Flap Your Wings)

(See what I mean, folks?)

And as far as writing songs, I'm a collaborator, not a true songwriter. I've co-written many songs with both bands. But if either Terry or Steve [Hindalong] is in the room, why would I waste my time trying to write a lyric? There's no way I'd be able to write one even close to as well as those guys can write. And when I hand over an idea for a song, they take it and make it way better than anything I ever could've made it on my own.

Yeah, that makes sense. Kind of like how Malcolm leaves all the solos to Angus. Is there anything that stands out as a highlight for you musically?

Yeah, it was that one time that Bob Dylan, Elvis Costello, Tom Waits, and Paul Westerberg all got into a fistfight over who could have me play in their band. ...Oh, I'm sorry, you meant something other than a delusional fantasy?

That's okay, I used to pretend that one day I would join the Banana Splits and play lead guitar. One banana, two banana, three banana, four, Four bananas make a bunch and so do many more ... come on Tim, sing it with me. Tra la la ... (I wait through several moments of painful silence).

(continuing) Do you ever find it odd, that despite the exposure you've had has been within the CCM community, your fans seem to have an unusually harsh opinion of Christian music? I mean the festivals and labels and audience that primarily supported the bands you've been in have been CCM by definition. So what's the beef?

No I don't find that odd at all. Have you turned on your local CCM radio station lately? It's horrific. Listen to the lyrics! The beef is that A LOT of CCM sucks the covers off of big wet hairy tennis balls through a straw, now more than ever.

No kidding, if I have to hear one more Hill of Extreme City Worship type album I'm gonna spew. Which is why I very carefully avoided making reference to CCM radio. If Ted Nugent were a Christian he'd probably shift his focus from trying to buy Muzak to getting a local CCM station just so he could shut it down. Either that or program Wango Tango in between broadcasts of The Bible Answer Man, and Bob Larson.

Can you describe the smoke and mirrors process that goes into creating music with Daniel Amos, and how does that compare to being involved with The Choir, or even lending the bottom end to Lost Dogs.

With both bands it's become such a seamless and natural thing, it's difficult to describe. Terry in DA and Steve and Derri in The Choir, all three of those guys are absolute masters at taking an idea--a chord progression, a melody, a sentence, a mumbled thought - and completing it into a full-blown song (especially in writing a lyric that captures the feel of the music).

I've said this before but I'll have to say it again. Even though I'm closer to all those guys than I am to some of my blood relatives, I still get nervous when presenting new material for their consideration. I have such respect for what they do, I still feel like a fan of theirs.

So with either band, it ranges from bringing in my 3 or 4 song ideas, to just laying down a bass part, to sometimes giving production ideas.

And with the dogs [Lost Dogs], it's especially enjoyable because all I have to do is come in and play on their stuff that has already been written - and they're great about letting me try anything.

I hate to ask, but I was goaded into this question. There's a lot of speculation about the shenanigans that would go on when you used to tour. Who was the biggest practical joker, and is there any truth to the rumour that you were the unofficial president of Blue Flame club?

(Blue flame club? how old are you?)

I just turned farty.

(Did anyone besides me see that coming?)

Um, it wasn't that anyone in particular was a practical joker, but that everyone would do things to compete to get a laugh. Usually really stupid stuff like, one of us would walk out of the hotel room into the parking lot first thing in the morning without our pants on and pretend to be completely unaware of it.

I once purposely fell down a flight of stairs, dropping three large suitcases, stumbling and rolling over them on the way down like a complete idiot just to try and get a laugh out of Terry.

We used to play this game called "one bite." we'd go into a restaurant, order food and then Terry and I would wager on which one of us could fit an entire half side of a pizza into our mouth in one bite. You know, real grown up stuff like that! (Often times, the promoter of the concert would be with us and watching in horror. it was great.)

That's hilarious. I'll have to remember that with the kids next time we're out for pizza. My wife can play the role of the promoter. Well, I guess that about finishes this off, along with any credibility I had as a hard-hitting journalist. I had my chance to ask about the dirty secrets, infighting, and the rumour about Tim joining Carman's live band.

I'd like to thank Tim Chandler for taking the time to play in my backyard; I hope he was watching where he stepped, as I haven't been out lately to clean up after the dog.

Until next time, you're only a click away from exiting this page.

Jevon the Tall
Banophernalia.com
November 2003

A post script. As Tim and I were completing the interview it was announced that Daniel Amos would be inducted into the CCM Hall of Fame. I couldn't resist so I sent Tim a parting shot, "Obviously you registered somewhere, because DA is gonna be in the CCM Hall of fame sucking up tennis balls. To whom do I send my box of straws?"

Tim responded with a written version of the Johnny Cash salute.