Theo: I am greatly
honored by the attention you have given AAR. So it isn't with an ungrateful
heart, or a greedy one, that I again push on you to do one of your
famous interviews with me. I'm zealous. What can I say?
Jevon: (Background, to the
reader: I've been telling Theo for almost two years I'd like to interview
him, but somehow never got around to following through.) You win. Give
me a little more time Theo, I'll have to prepare (note to reader: I
know I've had a couple of years, but hey ...). I'd offer to phone you,
but then I'd have to transcribe. That's not my idea of fun. Trust me,
I'll follow through. Really, just give me a couple of days to prep the
questions, I'll send you the skeleton so you can prepare, and then we
can begin. (note to the reader, I never did send Theo an outline, I
thought it would be more fun to shoot things over cold)
Several weeks pass ...
Jevon: I suppose I can't put
this off any longer...
Okay (coughing into my hand,
and wiping the damp residue on my trousers), let's play. Are you up
to this? To be honest, I'm a little nervous and not quite sure where
to begin. For those who may not know you, or have only heard a little
of your story, why not give us a thousand foot level overview of what
you're all about.
Theo: First off,
let me tell you what a hugely ignoble experience this is and I couldn't
be more excited than to be doing this.
Jevon: Oh man, you are such
a suck up (note: Theo ignored the shot as he is ever the gentleman).
As you were about to say before I rudely interjected.
Theo: Andrew Obrastoff
battled the genetic disorder Cystic Fibrosis for his entire fifteen
years of life before finally answering the homeward call of Jesus,
due to rejection complications with a double-lung/heart transplant.
Andrew touched thousands of lives during his short, though packed,
fifteen years of life. One by one, every person he met became a convert
to his peculiar charm, wit and powerful presence of will to live and
to love. It might be that the very last "new convert" (though'
not least) was the man, Terry Scott Taylor. Taylor was called upon
during Andrew's last days to minister over the boy in song and prayer-just
as his music had ministered to the Obrastoff family for so many years
via record and radio. Now, in person, Andrew's presence of life made
its impression upon Taylor as it had thousands of others. At that
moment, amid the tension, the agony and the glory of a boy going to
be with his savior-a vision was birthed in Theo Obrastoff (Andrew's
father) on just how the boy's legacy would be carried out. The words
one preacher uttered into the situation came to life, "He touched
thousands during his life here? When he goes to be with Jesus he will
touch millions."
And he has ...
Jevon: Did you pull that off
your website?
Theo: Yes. I snatched
this from my own web page. I wasn't about to start typing this ALL
over again.
Jevon: Andrew passed away May
of 2001, and you close your short book with, "God is good, all
the time." It's only been four years, and your life has changed
completely since then. There are many who would think of you as slightly
delusional. How can a caring and loving God do this?
Theo: Do you really
wanna get heavy theo-logical here? I'll make it quick. I don't blame
God for the evil, the suffering and death in the world. Not His idea
of a good time. I believe all that crap came into the world through
mankind's unwillingness to obey God in all the good stuff. In fact,
I believe the message of Christ is to put on our Super-Jesus capes
and go out and right the wrongs in the power of His Spirit-the same
Spirit who gives life. Some times we pray and God says, "Yup,
that's what I had in mind." Other times we pray, lets say, "Dear
God, please heal my son." And the Father says, "Nope. This
has gone on long enough. I'm bringing him home to live with Me. Don't
you think, over all that'd be best?" I have to agree that God
ALWAYS has the Best in mind-even if I don't understand it.
Jevon: I think that's pretty
clear. You mentioned Terry Taylor. I've got to ask, I can see me or
you asking for Terry, but it just seems weird that a 15-year-old kid
would want to see Terry. Perhaps when we were fifteen … what was
it about him that struck such a chord?
Theo: Make no mistake,
O' prolific one (further sucking); I have always been blown away by
just how much my boys and I were able to mutually enjoy music. When
I was growing up, my parents hated my music and we fought over control
of the car radio and such. I totally expected the same war with my
own kids. But that's not how it has gone. My boys have really adopted
much of my taste as their own. At the same time, I've tried to return
the good vibes by indulging the music they brought to the table. But
I think Andrew and Jordan recognized just how off the map Terry's
music is. This also meant that they could share some tunes with their
peers, which were guaranteed to be unique and previously unheard.
As for "asking
for Terry," that's kind of a misnomer. I was asked to make a
request. This lady was offering us a "make a wish" but she
didn't understand that we didn't' have that kind of time left. I'd
had a dream of Terry coming to sing and pray over Andrew and so I
shot that idea out to her. Terry was just one of those items which
Andrew and I totally shared together. If I thought for a moment that
Andrew would have preferred Brittany Spears and if there had been
no dream earlier that week of Terry (as opposed to Brittany…and
don't go there…)-then I would have made a different request.
Jevon: Brittany, can you imagine?
Eyeeew. So now, Terry shows up and the normal course of things would
be "Hi how'r'ya" sign a few things, take a photo and get the
hell out. After all, no one, I mean no one enjoys hanging around a palliative
ward. I remember my father the week before he passed away in 2001, when
he was told he would be moving into the palliative ward. It was his
final realization that there was only one way out of the hospital. I
didn't think it was a big deal at the time. It wasn't until later that
I realized I didn't know what the word meant. There is a degree of bliss
in ignorance.
Theo: I don't know.
Andrew got visits from tons of babes over the years. The Seahawks
Cheerleaders. He spent his fourteenth birthday playing socker-boppers
with about five gals from Hooters.
Jevon: Stop trying to change
the subject by mentioning cheerleaders and Hooter girls. Hmmm, Hooters.
Dang it Theo, what about Terry?
Theo: The
first thing Terry did was to express to me just how inadequate he
felt to the moment. I smiled at him and simply agreed. We are inadequate
in of ourselves. But the cool thing is that we seem to have been hand
crafted to endure a lot more than we think we can. Terry stayed a
good long while really. He sang. He prayed. He conversed. It was unbelievable
for all us (that includes Terry, by his own testimony).
Jevon: I'll bet it was something
you'll never forget. So fast-forward a little bit now. You've lost a
child, which is something I can't imagine - but you've got a story to
tell about an incredible young soul who just coincidentally happened
to be your son. Step me through the whole Andy's Angels thing.
Theo: Well,
first we'll have to rewind again. Please don't hit the fast-forward
without asking. (ahem) On the day Terry came to the hospital it was
apparent to everybody that something significant was taking place-that
something profound would come of this all. After Andrew had passed
on, Terry and I emailed a bit. I had a lot of material (musical) that
Andrew had inspired through the years. I had Andrew's charge to me
that I not let "them" forget all he had been through and
all we had shared together. I concluded it was time to do a "real"
album. So I asked Terry, if I wanted to do an album and have it be
of the quality and vision inherent to his albums, to whom should I
turn in order to have it produced? Terry emailed back: "Me! How's
that for a short answer?"
Then as we pressed
forward, my vision became his vision and the vision of others involved
and everybody began contributing to make it an album with broad appeal.
Wide appeal was important so as we might do the most good for CF research.
And if we were going to be non-profit, then becoming a legal, Not-for-profit
company was an absolute necessity. Andy's Angels' Records was born.
Why Andy's Angels?
In the last weeks of Andrew's life, a couple of his classmates (who
were especially close to him and there for him) had these Andy's Angels
t-shirts made and distributed them to everybody. Their names are Stephanie
Geho and Katie Bozlinski. Andrew had been an angel of God to so many
for all his life. Katie and Steph thought it was time that everybody
else become angels to him-gather around him with a good message of
cheer and support.
Jevon: There may be a misconception
out there that you started making music after meeting Terry. How about
a little history about the musical Theo (sheesh, that sounds like a
showtune title).
Theo: I'm just
like everybody else out there who has lived and breathed music their
entire lives, but never quite cut it professionally. I have heard
it from people like Terry (Taylor), Mike (Roe), Steve H. (Hindalong)
and others many times that the only difference between the artists
you know about and the artists you don't is simply that those you
know of wanted IT that much more. Many of the "known" artists
have half the talent or even less than many who will never be famous.
Hearing that from these guys was really affirming. It partly makes
me question what the heck was I doing with my life!! But it mostly
makes me say to myself, "Oh yah. THAT'S what I was doing with
it all!" You know, garage bands, worship teams, campfires, hospital
rooms, bathrooms ... okay! TMI!
 Jevon:
Bathrooms have great acoustics, some of my best work has been done in
a washroom. Sorry, back on subject. A not for profit record company
is probably one of the strangest things I've ever come across. So now
you have Terry on board, and the shape of the project that will eventually
become Come as a Child begins to come together. Suffer The
Children came out in advance of the full album, and was interesting
in that it really stood on it's own. I suppose you would call it a musical
appetizer. In terms of artists and content how did you decide on who
was in, who was out? This couldn't have been an easy thing to pull off.
Theo: Well, it
was easy for me. Basically Terry put that together. We had a record
release party planned for November of 2003 in Seattle. But things
continued to hang the project up, and I was flummoxed to say the least.
So the management and Brian Heyden and Terry put together STC as a
precursor to the big release-not wanting me to come up empty handed
for the party. The party concert was terrific. Elbel came up. All
three legs of the Lost Dogs were there. I played and even got to join
the Dogs for Breathe Deep. It was terrific. On top of that a tour
tradition was birthed. Each December, Terry, Mike and I do a mini
tour of the Pacific Northwest (and Derri too if he's available).
STC was great because
it had Andrie on it and it included some vintage bootleg DA.
Jevon: I remember seeing you
guys on that tour. I think that was when you had that blue thing for
a guitar - prior to you getting that poop brown Martin. As a performer
how much did you learn by being allowed to hang on to the coat-tails
of Lost Dogs?
Theo: Tons of affirmation
as an artist. Most importantly, I learned how to laugh again. Not
that I was this dour person who didn’t laugh at all. But somewhere
in my childhood, somebody told me that I laughed like a goon and so
I learned how to laugh civilly. The Dogs laugh a LOT! Roe is especially
known for his big, wild and unrestrained laughter. From the first
time touring with these guys, something was released from captivity
within me and I began to laugh again. Since then, I’ve heard
some say I laugh like Amadeus (how horrifying! Eek!)—but even
those who say that, add that they like it. If I were to write down
my Lost Dog tales (tails?), 90% of them or more would be about laughter.
Jevon: I can see how you hooked
up with the Dogs, but Elbel – how did you connect with Jeff?
Theo: Keep in mind
that I’ve always been a little slow on the draw as to who’s
who in music. Before I hung out with Terry I might have heard the
names “the 77s” or “the Choir” but I had no idea
who Mike Roe or Derri Daugherty were. I met Jeff on the Daniel Amos
DL. He just sounded like another of the musicians who loved DA and
hung out on line. Then I got a Paste Music Sampler and heard his tune
“Radio Flyer.” I thought the tune sounded like Yes and really
liked it. At any rate, we just got to know each other. He’s like
me in that he’s extremely willing to do anything. Wanna play
a gig? Sure, why not! I love Jeff’s album “No Outlet.”
I get along well with pro-active people.
Jevon: Oh man, I must resist
the impulse to take an easy shot about how slow you really are. Hey
Theo I have two words for you: Stuart Pedasso. How many months was it
before you finally figured that one out mister smarty-pants? Anyway
– so you're saying you picked Jeff up in an internet chat room?
Too funny.
 Okay.
Before I digress completely and lose my train of thought. Let’s
move ahead a bit to the release of Come as a Child. Hard to believe
it’s coming up on two years since this was released. Looking back,
how would you describe the whole experience, and reaction to the project?
Theo: Oh wow, man.
Just ... wow ... And then CAACONAA II “Like an orange to a child.”
And now I’m working on CAACONAA III. Sigh. Deep inhale. And ...
Wow, man. Just, wow.
Jevon: Wow? That’s not
an answer. That what you say when a pretty girl walks by. Where’s
the dirt, where’s the artistic expression of fulfillment –
when are you going to talk about the wet t-shirt contest you Terry and
Mike forced Derri to enter (and came in second if I remember the story
correctly)? I mean, really – Wow – how lame is that? Why don’t
you ask your son Jordan to help you answer a few of these for me?
Theo: Derri was
so hot and he sang this little show tune and whew! All we could say
was, Wow. Hot. Wow. Really great.
Jevon: That's a haunting image.
Since you brought it up, I’d
like to draw your attention to CAACONAA. I know you have an attachment
to the whole come as a child theme, but the acronym sounds like catatonia.
Is that what you were going for on the second album?
Theo: Catatonia
Comatovski is a beautiful cousin of mine. We’re Russian you know.
But no. She didn’t have a thing to do with any of these albums.
Jevon: Uh, Okay then ... Before
we move on, let’s go to the summer of 2003. Bushnell Illinois,
home of the legendary Cornerstone festival, and you’re there with
the newly released Come as a Child. How big a thrill was this?
Theo: It was my
second Coroner Stone ... Corona Stoned ... Corn Stock ... whatever
- It was an absolute dream. My dad (Grampa Andy) and my son Jordan
came with me. I played the Gallery Stage. I got treated like I was
wearing the Dogs’ signet ring or something. I even got to do
the whole interview thing in the press tent.
I just wish the
press had made the most of this story. I wish local Christian media
had made more of it. I mean it is a real story with real serious activity
surrounding it—trying to make a difference. And they’ve
all but ignored it. I don’t want to go into “bark”
mode, so that’s all I’ll say. But it is a pity. That day
in the press tent, they asked such great questions; they got the full
story. And then they went out and did ABSOLUTELY NOTHING with it.
Pity. Next ...
Back to C-Stone.
Everybody was so good to me. I got a pep talk from Steve Hindalong
right before I took the stage. Jeff Elbel played bass for me and Ping’s
drummer Andrew Oliver backed me as well. Terry joined me for a few
songs, as did Derri. Then the Dogs played and the 77s and others.
What a night. I don’t think I’ll ever see C-Stone again,
but that was a great game!
Jevon: You allude to some of
the let down you felt after the completion of the Come as a Child project.
Looking in from the outside you must’ve felt a little bit of “what
next?” because it seems like for the years following Andrew’s
passing you were at the hub of a lot of activity. You were immersed
in the project – I wonder how much of the grieving process was
supplanted by hard work, and once you were finished say to the world
“Here it is” and some of the people who were there at the
beginning moved on before you were finished. I know this must have felt
like a betrayal of Andy’s legacy. But let me tell you, it’s
like the 10 lepers, one did come back, and for that one it was worth
it.
You obviously learned a lot
on the first album, and I’m curious about the difference in approach
on the follow-up. What was it you wanted to bring to Like an Orange
– and how had you expectations changed?
 Theo:
The big thing about Like An Orange To A Child is this: with
the first album Terry and the others had no idea of what I was capable
of and so gave me just a little to do. With the second album, a great
deal of relationship and trust had been established. So when I set
the agenda and asked “would you guys do such and such for me?”
they were able to say, “no problem.” Earning my stripes
also meant that I didn’t get to say everything I particularly
wished to say with the first album. There was a great deal of material
that I had intended to use that had to be put on hold. With Orange,
the agenda was to get it all said. For the most part I think I did
and the guest vocals were a huge blessing—a real affirmation
of relationships. Those relationships are a real gift that came as
a result of Andrew and the first project.
Jevon: So this was your personal
expression the way you envisioned it, enhanced by those who have joined
you along the way? I have to say, when you played me some of the early
mixes I wasn’t sure how it would turn out.
What stands out is the musical
cohesiveness of the recording. How did you hook up with Rob Watson?
Theo: Ahh, I can
honestly say, “I’m glad you asked!” I met Rob when
I went down to L.A. the first time to record the songs CAACONAA and
Andrie. Terry says to me that we’ll be recording in the home
studio of one Rob Watson and asks if I know who he is. I think the
name sounds familiar but I can’t think why it might be. Terry
rattles off a list of credits, and while I’m impressed, the one
that resonates with me is that Rob co-produced “Knowledge and
Innocence” with Terry. Now, like many souls, it is an album that
had a profound effect upon my life. Terry and I had shared early on
this vision of capturing something of the spirit of that album. I
was excited at the chemistry which was forming. Albeit, I was nervous
as we went to meet with Rob. I thought I’m gonna be uncomfortable
and feel like a third wheel and so forth. Instead, I met one of the
most gracious human beings ever to stroll terra firma. Rob and I hit
it off immediately like long lost brothers. I was still in the first
year of losing Andrew and Rob and I spoke a great deal and wept together
and a lasting bond was formed. Later, when I went on my first mini
tour with the Lost Dogs (I played L.A. then we did Phoenix and Albuquerque),
I doubled back to L.A. and mixed my Christmas album with Rob. God
gave me a real special brother in Rob. He has since been there for
me for many moments—in both joy and pain.
Jevon: It's funny how things
just fall in to place like that. Okay since you were chief cook bottle
washer and janitor on this project, I have to ask quite seriously what
in the heck were you thinking on Little Pioneer? Before you get your
mullet in a knot, I’m not referring to the first 15 seconds –
I think those few moments are brilliant! It’s the rest of the song.
What happened did Barry Manilow’s evil twin Farty Manilow force
you to record the song? How did Rob ever allow you to put this on the
disc (also, is it just me or does it sound distorted to you?)
Theo: Oh boo hoo!
You gonna cry like a little school girl and get your little plaid
skirt in a dither just because somebody might have broader tastes
in music than you? Just because, perhaps, Theo likes a little retro
pop music? Hmmm? Hmmm?! Hmmmmmmm!?!?!?!!!!!!!!!!!!!!!! Weeeeeeeeeeeeeeeeeeeeeelllllll?
To be honest, Jevon,
the music of that tune truly represents another side of music Andrew
and I had fun with. We just liked it. Okay? ;-)
Jevon: A couple of points here:
1. I don’t cry like
a little girl – hardly ever.
2. I have broad tastes
in music. I listen to Amy Grant and John Tesh (occasionally).
3. Retro music – just how far back are you going here?
Anyway "to each his own"
(Al Martino! See, I have varied taste), and to be honest I’m glad
you put something on it for that particular demographic. You’re
a very thoughtful man.
Can you provide a little insight
on the following songs:
Forget Me Not
– this was written with Andrew wasn’t it? How strange in must
be have been for you to sing this.
Theo: It actually
came together a year after Andrew’s passing. I walked out of
the house one Spring morning, en route to work, and I just began singing
to myself about the moment. “Everything’s wet and clouds
still cover the skies.” Some lyrics of Andrew’s arose within
me and by the time I arrived at work, the song was complete. Andrew’s
words reflected his Psalm 23 experience of questioning God about his
missing life, question God about his missing life, the absence of
a carefree childhood - all his disease had robbed from him. The refrain
echoes his request to me that I not let anybody forget what it was
all about.
Can I Hide My Heart Here?
If you were looking to capture the feel of Knowledge and Innocence
this was your proof in the pudding.
Theo: Can I Hide
My Heart Here came to me all during a car ride one Spring. It just
sort of came to me. I was really into Bloom County and Outland (the
comic strips) and hence the very Berkeley Breathed-type imagery. The
melody is just the tune that came to me along with the lyrics. I tried
to develop the song years ago as a very “new wavy” song,
but what you hear is obviously what won out. The lyrics reflect the
heart and/or character of relationship in our family (between me and
my boys—between us boys and Jesus).
No Soul –
Mike Roe was perfect for this song. Man I'd love to sit and chat with
this guy, without it coming across as all sycophantic.
Theo: You know,
I heard particular voices for particular songs from the get-go. Roe
is a dear brother and did this for me with his whole heart. But along
the way, he kept insisting that he liked my voice on it better. I
believe I was right and Roe’s voice was the best choice for the
song! Hoo-wah!! =-)
Presence –
Carolee has the voice of an angel, is it true she has wings? Was this
a song you recorded at Rob’s from top to bottom?
Theo: Carolee likely
has wings that go with her voice and her spirit, but alas, they are
invisible to you and me. I recorded the tune at Snowglobe, my own
studio. However, when we got the tracks down to Rob’s we rebuilt
the percussion track, added Carolee. Then Rob through in some Hammond
B3 and voooosh!—the thing took off. Terry and Carolee advised
me on the lyrics a bit too. Most people think I’m speaking of
God in those lyrics. The fact is I’m speaking of Andrew. When
somebody we love passes away, we often say, we know he/she is looking
over us or is with us now, in heart—or something. But I have
sensed Andrew’s presence in strong ways that go beyond it just
being a “saying,” “a motto” or being able to put
it down to a passing “feeling” of some sort or another.
It has been a gift.
I Will Dance with You
- Jeff Elbel lends his talents. What was it Jeff brought to this song
that say, oh, a bag of cats in heat couldn't do for free?
Theo: LMBO!!! Seriously
now, I like Jeff’s work. He is always supportive and I know he
is as busy as anybody else. But he puts 200% into all he does and
I know that whatever I give him, it will be primo! Jeff lent his lead
vocal to this tune. It was Rob Watson who got the techno beat into
it for me. It’s a special song for me—all about the traipsing
around the country side Andrew and I did together. Try letting your
kids set the agenda sometime and you’ll find out how wonderfully
crazy and youthful it makes you feel.
All Around Me - Bill
Harmon of Strawmen fame joins you this time, and I'm always curious
about your musical pairings. You seem to gather an interesting assortment
of talent.
Theo: I learned
about Bill at C-Stone when he did a couple of Strawmen tunes with
the 77s at their gig. I bought the album and listened on the way home.
I immediately loved it. “It’s a miracle” was especially
mystical for me. At any rate, Bill is very public with his website
and so forth. We got talking and I invited him to share in an Andy’s
Angel’s Christmas. Terry had never met Bill and Mike hadn’t
seen Bill in a long while, and so it was a great meeting and reunion
for all. He was such a great guy that I asked him to sing on the album
and he was just really easy going about it. I was honored.
And what I have to say is probably
your finest musical moment At Harvest Time. I was really
blown away Theo, where in the heck did that voice come from?
Theo: Thank you,
Jev. That truly means a great deal to me. Rob thought that song sounded
a very much like Stonehill—particularly on the Wonderama album.
Since Rob produced that with Terry, I guess he would know. I am honored
by such comments because I have really fallen in love with Wonderama
since. I jotted down the lyrics for Harvest Time about a year and
a half after Andrew left us. The music came to me just before recording
the song. It just seemed right. My Hispanic friends had the worst
time trying to translate the idiom: “I have never been so holy.”
We had to talk it over at length. They knew what “holy”
meant, but the idiom was strange to them. Placed in situations where
life is most pressing and demanding, I find I can be “at my best,”
and the most “other-worldly” and the most like my Maker.
I could be wrong.
Jevon: In all it sounds like
an extremely rewarding experience. So now you’ve come full circle
in a way. What’s next for AAR?
Theo: CAACONAA
III is on the table. The idea is for just a handful of songs, but
a full length film documentary on CF, Andrew and AAR.
Jevon: You’re not moving
off the Catatonia theme huh? I guess you’ve become inflexible in
your dotage.
We're nearing the end of the
interview and you may have been thinking to yourself, “Man, Jevon’s
playing this one pretty straight. No fart references or anything. I’m
so thankful...” Well, not so fast. Is it true you and Andrew weren’t
allowed to light farts in Children’s Hospital, because the staff
were worried that the kids in the oxygen tent might want to play too?
Theo: That was
always a concern, Jevon. But there was some underground movement.
Jevon: There’s always
underground movement. Open mic time. Anything you'd like to add before
I turn off the lights and close the doors?
Theo: I am truly
interested to hear from people who have seriously followed AAR. We’re
looking at a third project and I am sincerely curious to hear what
supporters would like to see from that project were it to materialize.
The best place to share those thoughts is the new Message Board Forum
at www.andysangelsrecords.org
Jevon: Theo, thank you for
taking the time to talk about the history of AAR and giving some insight
not only into Andrew’s legacy, but into you. You are a true gentleman.
It’s been a real pleasure.
Theo: My absolute
pleasure, O’ tall one. You’re the best!
Jevon: It was something we
should have done ages ago! There's more information on AAR, and the
music we’ve been talking about I encourage you to visit andysangelsrecords.org
and find out for yourself.
Until next time, wear cotton
and keep your matches dry.
Jevon the Tall
banopernalia.com
June 2005
The gibberish line I borrowed
from James Bibby - now he's a funny writer.
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