Interview: Stevie Caldwell

Stevie Caldwell is a mom, a software developer, and an amazing singer/songwriter who fronts her own solo music project called And Then There Was One. She started this project in 2014 after breaking into the Boston music scene with bands October Arrest and Six Times Seven. Seeking a more personal outlet for her soulful, sometimes heartbreaking lyrics, she decided to try it her way and hasn’t looked back.

Her influences range from Fleetwood Mac to System of a Down, and her talents as a lyricist and singer shine through in her well-crafted melodic and sometimes angsty 90s flavored alternative rock.

I know Stevie from social media, where she joins me regularly in my weekly DIY Music Chat to discuss songwriting, guitar pedals, and fitting music into an already full life. I was very pleased when she recently agreed to answer some interview questions.

Her new EP entitled “You. Me. Us.” comes out at the end of February 2018.


Tell us a little about yourself and how you got started with music.

One of my favorite memories that I like to share is from when I was about 5 years old. I had one of those long-handled push toys with the balls in the hopper, and my mom had just bought me this fake Mickey Mouse guitar. I was standing in my room, the push toy propped up on a chair so that the handle stuck out like a microphone, strumming this guitar, and singing along to “Rosanna” by Toto. So, that’s been me from the beginning. I didn’t get around to getting an actual guitar until I was 16, but before then I had notebooks full of fleshed out songs that I would sing out loud to myself, imaging the accompaniment.

What is the inspiration for the name of your project?

I was in a 3-piece band that wasn’t doing much in the way of gigging and I really, really wanted to do that more. I decided to start my solo project to scratch that itch, and also to have an outlet for the many songs I was writing that didn’t really fit the style of our band. “And Then There Was One” was kind’ve separating out from the other band members and starting my own thing.

What guides your creative process from song to song?

My song ideas usually come from a snippet of a melody that I’ll get. I have an app called TapeMachine on my phone that I use to sing my ideas into so that I don’t forget them, although I really like the advice I heard from another musician friend about how if you can’t remember a melody a few days later, it probably wasn’t that good. Then I sit down at my computer and hash it out. Other times, if I’m trying to practice the art of not waiting for inspiration, I’ll sit down and literally scroll through drum samples for inspiration. Sometimes I start with guitar, sometimes bass. It all just depends, but I guess I don’t have a set method.

Tell us about your recording process and how that’s evolved.

I’ve gone back and forth a lot on how I record. I mean, I started out in my bedroom with a 4-track recorder! When I first started with And Then There Was One I thought I had to record in a studio. It was a great process, created two awesome, well-produced tracks…but it was not a sustainable model due to cost. I moved into bedroom recording, direct in for my guitar and bass, drum loops, and using my room to record vocals. The results were okay but not great. Discovering that you could hire drummers to play on your stuff remotely was a game-changer for me, as we finding a studio willing to let me bring in my own equipment and just use their space for vocals. No more being afraid to belt it out in case the neighbors overheard or anything.

How often do you play live?

Roughly about once a month.

What type of gear do you use when you play live, and is it different now than when you started?

I have a pedalboard, like a big girl! But seriously, yeah, very different. When I started gigging I was using a modeling amp, but I found it prohibitive when I wanted to do quick switches between effects (like going from clean to dirty) because it would cut out for like a millisecond, but it was enough to be noticeable. I even reworked a song to allow for a pause while I changed presets it was so bad. I eventually moved to using pedals because it was just a smoother transition. I have the same modeling amp though, and I mainly use it for the amp presets and not any of the effects or mods.

How do you balance music, work, and family life?

Family first! This is one of the reasons (just one, mind you, because there are plenty of others) that I won’t ever be a real touring musician. There’s a part of me that thinks it would be fun to experience road-tripping like that, but then I think about how much I would miss my wife and kid while I was gone. So for me, short stints a couple of hours away is probably as far as I’d ever go, if anyone wanted me there! I try to keep work 9-5. I’m both lucky because my 9-5 is also something I dig (working with tech) so it’s not like my days are awful, but because of the industry I’m in there can be a lot of bleed-over into my personal life, what with being on-call and stuff like that. I go through phases with music where, if I’m feeling really inspired I’ll spend every night after work working on something in the studio.

What are you working on now?

Been trying to push this EP out the door for freaking ever!

What are your long term goals for your music?

I mean, I would be super happy to just be a known entity in the local music scene. Here in Boston there are bands/performers that everyone knows, that get really good crowds at their shows, that are always nominated for the Boston Music Awards and getting write-ups in Vanyaland and stuff like that. I think I would be pretty stoked if I got to that level.

What is next for And Then There Was One?

More music, hope to make a music video in the near future, and definitely I’ll be working on another EP once this one is done. Until then, just continuing to release singles every few months as well. And then next: Venus!

Thanks for your time!

Her new EP entitled “You. Me. Us.” will be out at the end of February 2018.

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Find And Then There Was One on the web:

website: http://www.andthentherewasone.net/
Bandcamp: https://attw1.bandcamp.com/
Facebook: https://www.facebook.com/pg/andthentherewasonemusic
Twitter: https://twitter.com/ATTW1_music
YouTube: http://www.youtube.com/user/ATTW1music

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It’s Back and It’s Still Hard!

Big news, rockers! The remastered version of my 2009 debut album “It’s Hard” has been re-released to iTunes, Spotify, and all other major outlets through my distributor Distrokid!

“It’s (Still) Hard” is a reworked and remastered version of my 2009 debut album “It’s Hard”, and was originally released in 2012. Previously only available on Bandcamp, it has been updated for streaming and can be found on all major outlets. Click the pic to stream it now!

It's Still Hard cover

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Mojo’s Favorite Albums of 2017

Vinyl RecordsThe best albums of 2017? Please. What does that even mean? Instead, here are the albums that basically lived in my CD player or in my earbuds since I first heard them.

Last year  I split my list into indie and major labels. This year was another great year for music but I brought it back to one list. If it’s a little indie heavy, that’s because I found myself listening to a lot (a LOT) of great unsung heroes of modern heavy rock, often courtesy of the consistently amazing Ripple Music.

Without further ado, these are the albums I just couldn’t stop listening to this year. Some you may know, some you are about to discover!


Fire Down Below – Viper Vixen Goddess Saint

I swear I only just found out these guys were from Belgium when I went to write this. Now I’m even more blown away. Every song on this masterful debut album is excellent, each leading into the other like a tapestry of heavy psych rock with nods to Pink Floyd and classic 70s rock and roll. How can you not love a lyric like “why did you just have to smoke me like I was your last cigarette” (“Roadburner”)? I’m not sure how else do describe them so let me put it this way – they’re not a direct relative, but they wouldn’t be out of place at a Kyuss family reunion. This is hands down my favorite album of the year.

The Flying Eyes – Burning of the Season

The swan song of Baltimore’s The Flying Eyes sees them going out at the top of their game. Burning of the Season is a tour de force of psych-infused fuzz rock that comes off as a late 60s/early 70s rock band on steroids. The deceptively laid back vocal delivery just helps to weave a subtle spell and draw you in deeper to the magic they weave.

Gary Numan – Savage

Yes that Gary Numan. Three decades after Cars was a big hit on radio and MTV, we may have his masterpiece: Savage: Tales from a Broken World, which plays like a soundtrack of a post-apocalyptic movie that I would absolutely go see right now if I could. Lush with synths and programmed drums that sound as organic and fluid as a cyborg orchestra, the songs on Savage are alternately dreamy and intense, but always haunting. Middle eastern wails and scales add extra spice to the lush soundscapes as the album progresses.

Living Colour – Shade

Um, DAMN. Living Colour is BACK. Same fire, same incredible musicianship you know and love, but with a new depth and maturity that you only get with age, like a cask strength Scotch. It’s like they didn’t miss a step, but I’m not kidding, hearing Corey Glover in my ears again brought a tear to my eye right out of the gate, it was like reuniting with a long lost friend I didn’t know I missed so much. No one bends and blends genres like these guys. Metal, rock, funk, blues and then some, Shade is a delicious and wonderful stew that you must have in your collection, and naturally their message is timely as fuck.

The Necromancers – Servants of the Salem Girl

This debut from France’s The Necromancers boasts fuzzy, heavy blues with vocals as frequently fuzzy as the guitars. It took me a few listens to realize it actually was devil-themed, but only because I was enjoying the music so much. (Yes, I know, the title, band name and cover should have tipped me off!) Servants of the Salem Girl is an album of light and shade, smooth and rough; at turns hesitant, gallopy, and sludgy, but never boring. Take it with you and crank it loud on your next muscle car trip down a dusty highway!

Royal Blood – How Did We Get So Dark

I’m not going to lie, I was hugely disappointed after waiting two years for the followup to Royal Blood’s amazing full length self-titled debut. How Did We Get So Dark sounds like a major label got hold of a great band and said ‘you have to make this more appealing to the general public’. And so it goes. BUT. But. The more I listened, the more it grew on me, and now I have to admit it is a great album in its own right. Yes, highly polished and lacking much of the grit, fire, and clever phrasing I loved on Royal Blood but yeah, it makes my list on its own merits. Full of bangers, this one.

Queens of the Stone Age – Villains

Hardcore QUOTSA fans may not dig it as much as previous records, but this Mark Ronson-produced album grabbed me and got me grinning from go. Yeah we know, Josh Homme is a diva. But you know what, there are so few bona fide rock stars any more that who gives a fuck, let him continue to fully embrace his ego and take it into the back seat of a pimped-out 57 Chevy and have his way with it, if it keeps sounding like this much fun.

Year of the Cobra – Burn Your Dead

With their third release, Seattle doom duo Year of the Cobra really seem to hit their stride, finally nailing what is close to their live sound. Amy’s soft, feminine vocals over the low growl of her Rickenbacker bass is a unique and haunting combination. Add Johanes’ beastmode drums and you have a fuzz classic on your hands. If you have a chance to see them live, do it! He may be the first drummer I’ve seen break a snare head during a show. Beast. Mode. Get it.

Huckleberry Quick – The Huckleberry Jams EP

Late addition to the list, I don’t even know how I randomly stumbled on this one, but this EP of “honkyfunk” jams from Nashville based indie Huckleberry Quick is just too groovy, too fun, to ignore. This should be on the radio instead of most of what’s there now.


Honorable Mentions

So much good music this year, these are great albums that deserve a listen or several, just wanted to throw them out there:

MothershipHigh Strangeness
Gorilla PulpHeavy Lips
Royal ThunderWick
SasquatchManeuvers
Samsara Blues ExperimentOne With the Universe
OctopussyDwarfs & Giants

Really, I listened to so much music I lost track. Just check my YouTube history, you’ll find some good stuff! What were your favorites? Comment below or let me know!

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