I can’t claim to have been a huge 441 fans since their first album. They were pretty much gone from the whole music scene when I was first discovering “Christian” music. When I did get a chance to hear them (via a really bad mp3 bootleg rip of their second album), I was impressed by the quality of music and honesty of the lyrics under the mp3 digi-stortion. I can now say that I own all of their albums and count them as one of the better bands I own. As a band, 441 has been through their ups and downs the past few years – including member Glenn Holland being diagnosed with cancer right before their reunion concert (more details about that can be found in Jerry Wilson’s excellent book God’s Not Dead). They have also seen the uglier sides of the music industry up close through the years. Through it all, the members of 441 seemed to emerge with their faith and drive to play music both intact – a somewhat rare combination in the CCM world of old. Glenn and John Giali took some time out of busy lives to discuss a wide range of topics with me. I fully enjoyed the depth of what they had to say – you might have to read this interview more than a few times to take it all in.
The first things fans probably want to know is, how is your health now Glenn? Any updates?
Glenn Holland: Thanks for asking. I’m healthy and have had no signs of cancer since my original diagnosis in 2005. I go in periodically for tests and the ‘magical’ 5 year mark is August. I feel very lucky and blessed. There are so many people who get a raw deal in life and life has been good for me.
The CD transfers of the 441 album and Mourning Into Dancing are really clean. What was the process to get those on CD?
GH: That is thanks to our guitarist and audio expert John Giali. When Blue Collar folded, Harry Barnes was gracious enough to give us the masters to MID.
John Giali: We were fortunate to have possession of the original 2 track mix masters, but ½” 30 ips tape isn’t a format I could accommodate in my project studio. I had a connection at the famed Village Recorders in Los Angeles where I was able to make a direct transfer to DAT about 15 years ago, a format that enabled me to get it into my computer to re-master for CD.
For people (like me) who are newer fans, where does the song “Ronnie” on the S/T re-issue come from?
GH: That is a song written by John Giali back when 441 was new but it didn’t make it onto our debut album.
JG: Yeah, the song was recorded during the sessions for the first album, but was actually written just prior to the formation of 441. John Mac and I had kind of a short- lived friendly songwriting rivalry going on around that time and “Ronnie” was my response to a new song of his, “Mom And Dad.” It was often part of our live set in the early days, and occasionally still gets asked about, so we decided to include it as a bonus track when the album was re-mastered for CD.
We have already discussed this, but for those out there that might be wondering – will there also be a CD re-issue of Sacrifice?
GH: I doubt it, but it can be had in digital form through iTunes, Rhapsody, etc. You can find more info on our website, 441online.com.
Did 441 ever face any controversies in the Christian music scene?
GH: Controversies? One time Steve got caught drinking a margarita at a restaurant by some friends of the band who happened to be fervent Christians. They were really offended. What I was offended about is that it was a strawberry margarita. In the end everyone survived with their salvation intact. I think.
I remember we played “I Feel Fine” by the Beatles at a gig once and a guy (yes, fervent Christian) got really upset. I hope he’s gotten over that by now.
Jimmy Swaggert railed on us in one of his books (along with a bunch of other bands). I think we were playing the devil’s music or something – much worse than visiting prostitutes, I’m sure.
That’s about as close to controversy as we got.
If I can be serious for a moment, it’s incidents like these that can give people the perception that some Christians are closer to the Taliban than is comfortable for them. We don’t need no Christian Taliban. The way to avoid that is to focus on love, forgiveness, art, music and the many things that God have given us to be joyful about. You don’t hear about the hot new Taliban Heavy Metal band, the Taliban Symphony Orchestra or the great painting one of the Taliban leaders produced. No, they’re in a cave somewhere figuring out how to oppress women and program young boys to blow themselves up. They’re so obsessed with their narrow view of how everyone should live that the richness of life has been squeezed out. All because they think that’s what God wants them to do. In these crazy times, maybe the world needs to see Christians embrace that richness, the love, the grace.
This became very real for me when my first marriage was ending. I had more than one close friend – all “serious” Christians (ultimately, much too serious for me) – cut off all communication with me because of my situation. What was next, public stoning? I needed my friends more than at any time in my life and basically if I didn’t do exactly what they said, that was it. One friend I never talked to again. That was 17 years ago. The “secular” world doesn’t do that, do they? So was I to conclude that Christians are less loving and less forgiving than non-Christians? That was certainly the reality for me.
I’d like to think 441 has been able to convey that life has those rich things to offer, that there’s grace and it comes from something way bigger than us.
Tell us a bit about the set list for the Broken Reunion. Why were those songs chosen? Did the whole set make it on to the CD?
GH: The band had a 30 minute set, so we needed to play a selection that best represented what 441 was about. We’ve started concerts off with “Looking at You” and “Jordan” for years, and that combination really starts the show off with energy. Since we were the opening act, it was important to do just that. Beyond that, it’s a process of crafting the set for the right intensity, emotion and song recognition. “In The Night,” although intense, is a fine rocker. So it went third.
“Break Out” was our most popular song by virtue of it being number one on the radio in L.A. back in the 80s. Usually, that means a song is going to go near the end but I think we started feeling as a band that we had more to convey later in the show than the relative bouncy-lightness of “Break Out.” But to do that, we had to have confidence in our material that it could sustain the rest of the set. I mean, what if you went to a Modern English show and they played “Melt with You” fourth in their set? You’d probably go get a beer after that, right?
Now, I’m not saying we have stronger material than Modern English, just that 441 had stronger material than “Break Out.” So, following “Break Out” with “Fish on the Car” kept that momentum going because it’s a very recognizable tune right from the beginning. In fact, you can hear people just after the end of “Break Out” yell for “Fish on the Car.” So once Ronnie (Martin, of Joy Electric) hits those first notes of Fish the crowd really reacted. That’s why you play music in the first place. It’s a great feeling.
From there, it was about taking the crowd through some different emotions: joy through trial (“Mourning Into Dancing”), anguish and doubt (“Is It Enough”) and then full out love and praise (“In His Presence”).
The band did a great job. Steve Giali was flawless on drums. That was crucial for the CD. Typically a band uses several nights to compile a live recording. We had one shot. Some things can be fixed after the fact but drums aren’t one of them.
Having some high caliber musicians come through for us with Joe Medrano on bass in my absence and Ronnie on keys along with John and John’s experience surely made it a great show.
The entire set is on the CD and in the order I just described. Obviously, we edited out some of the breaks and talking in between songs – it’s nice for those in the audience but especially now with mp3s lots of talking just doesn’t work very well in a recorded product. We kept one snippet where John McNamara introduces “Is It Enough” and explains that I’m not there.
JG: Given the short allotment of time for our portion of the show, we were fairly unanimous with what songs we wanted to play. I’m reminded though that initially “Fish on the Car” wasn’t in the set. But Ronnie and Joe insisted during a rehearsal that it wouldn’t be a real 441 concert if we didn’t play it. So far, no one has seemed to notice though that we cut the third verse to make room for it.
What is the history of the two new songs? Were they older songs just now recorded, or written recently? What was it like recording songs at a distance?
GH: 441 had discussed doing an entire new album in recent years. I had started writing songs again and quickly compiled enough for a record. As well, John McNamara had several he had written over the years.
Ultimately, the fact that I now live in Texas combined with the daily rigors of our current lives made that a difficult proposition. When Beth graciously gave us access to the recordings of the Broken concert it allowed us the opportunity to do something. Adding a few new songs onto the project was something that was good for everyone. People who dug what 441 was 25 years ago could hear something new. The band could participate in a creative session with one another again. For me, it was therapeutic to contribute material to the project since I didn’t perform at the concert.
“Inside Me” is a song I wrote around 2006 when I had started writing for a possible new 441 record. This song came out easy. When I write, I usually just start playing my acoustic and humming and mumbling. It’s songwriting via speaking in tongues.
The topic of “Inside Me” is fairly simple, yet a very personal one for me. I’m probably not the only person on the planet who has trouble in relationships and who has a darker side that’s not too far from the surface. Letting someone “in” is scary. You worry that they will take one look and walk back out or, worse, make themselves at home and trash the place.
Whether you’re relating to God or a human, once that person starts to see things you didn’t intend to reveal it can be distressing or liberating. Or both.
I tried to capture those different reactions with the three major parts of the song. A little anger or fear, some tenderness and humility. I had the song pretty well arranged out but bringing it to the band always adds more flavor.
“Rain Fall Down” is a song John McNamara wrote in the early 90s. 441 had re-formed and were playing assorted shows around ’91-‘93. We played that song in a show we played in 1993, the last show before we played in 2005. I had a recording of the performance. We took that arrangement and made some tweaks – like the guitar intro and a new bridge.
What was really fun was working with John Giali and a close friend of mine, Tony DeNeri, on guitar. Tony and I played in a cover band in L.A. before I moved and he’s a great guy and an excellent player. Seeing John and Tony working together was really nice and they collectively came up with some tasteful parts for the songs.
It also allowed us to work with Ronnie and Jason Martin. Jason engineered most of the tracks for the new tunes and Ronnie has been helping us for a few years now. They’re great people and it was fun to be around them. Jason reminds me a bit of Gene Eugene, but don’t tell him that.
As for logistics, I had done demos of both songs and solicited feedback from the guys. I then flew out for a weekend and we tracked drums, guitar, lead vocal and bass at Jason’s studio. I took the tracks back to Texas and added some stuff. We ended up going through quite a few revisions on “Rain Fall Down,” especially for the guitar intro. John and Tony finally nailed that one evening at John’s house and sent me the tracks.
Working remotely is certainly possible, but it wasn’t easy. Once I had all the tracks, I mixed it in my home studio. John G. did a lot of post-production work and the two of us collaborated via email, phone and file transfers.
It was a fun process, but it took time. I love creating and it was nice to have such oversight and latitude on a project.
JG: Glenn really did have a slew of great new songs and easily enough for a full length studio release. All of them could have and should have been recorded but we picked a couple songs, “Inside Me” and “Rain Fall Down,” to experiment with the feasibility of us using a remote approach. We’re all pretty pleased with the result, but in the end just finding the time to devote to it proved the most difficult part about it.
Above: 441 in an irreverent pose. Credit: Kim Loy.
What are all the members of 4-4-1 currently up to?
GH: The other three guys still live in SoCal. Nobody’s perfect, I guess. John G. works in audio and video production. Steve’s a salesman and is still selling. John M. owns his own environmental engineering firm. I think all are involved in music in church in some fashion. I work in the technology/software arena in Dallas and have a local cover band to keep me busy in my off time.
Glenn, could you tell us a bit more about your side band? Any plans to record?
GH: The Blind is a band I formed with a couple of new friends out here in Dallas. Jamie Woodson was in Room Full of Walters and Ryan Brandon is a great young drummer I met in the church band we were both in. Right now we’re a cover band. We play mostly 80s rock – Journey, Billy Idol, Prince, that sort of stuff. But, Jamie and I are both songwriters and both have songs. Our plan was to build a following with other people’s material and then start breaking our own in. How can that plan fail? Jamie and I both like power-pop type stuff so it will be interesting to see how we can work together.
Has anyone in 441 ever thought about solo albums? Also, to cover the obvious fan question – are there any older demos or unfinished songs that could be put together to make fan-club type release?
GH: McNamara would be the most likely choice for a solo record, since he can sing and write. I know the Elefantes were making noises about luring into a project after MID was finished but obviously nothing came of that.
Now that I’ve got better technical tools to work with, I’ve thought of a solo project but I still conclude that I probably don’t have enough to contribute on my own to make something really special. I’d rather collaborate with people where we can be more than the sum of parts. Plus, who would buy “Glenn Holland”?? Not sure there’s a market for that.
On 441 demos and the like, there is material out there, but they’re where they are for a reason. I’m not sure we’d want to release any of those.
What I’d be more inclined to do are one-off new songs or perhaps alternate versions of existing songs. I’ve got a song written that could be a nice 441 song. Re-doing “Pray For Rain” from the Sacrifice album would be nice. The Gialis didn’t play on the original and I’d love to have the ‘real’ 441 give it a try. I have a slow, dreamy version of “Rain Fall Down” that would be interesting to produce.
So, there are possibilities. Time, money and geography are the obstacles.
Are there any future plans for 4-4-1?
GH: No plans. It’d be great to play again, if the situation presented itself.
HM placed Mourning Into Dancing at # 62 in their Top 100 Christian Rock Albums of All Time list. Any thoughts about this? I guess they are, in a sense, voting this as your best album as a band. Would you agree? What do you think of the musical comparisons they made between 441 and Duran Duran, Simple Minds, and Paul Young?
JG: Well, we were listening to bands like Simple Minds and Duran Duran back then, and I suppose dreamy is better than nightmare-ish. For my money, MID has always been my favorite, but it seems I’m always running into people who actually like the first album best. But who are we to argue … we made it onto somebody’s top 100 list!
GH: Yes, I think Mourning Into Dancing was our best record. The songwriting was consistent, the production was solid and it sounded great. It still sounds great. It dates itself a bit as it is very much an 80s – sounding record, but I’m fine with that. 441 has a lot of neat moments. MID really could stand up against anything else out there. Of course, being mentioned on any list in 2010 is great. Just that people remember means a lot.
What are your thoughts on the current state of the music industry? How has digital music changed things?
GH: It’s truly the best of times and the worst of times. Music is so easy to produce now that the rare talented artist cannot be found amid the din of hundreds of thousands of mundane-to-dreadful pretenders.
Do you remember the Pixar movie The Incredibles? During one scene, Syndrome is monologuing about selling all his cool inventions so everyone can be a superhero. And he says, “because when everyone is super, no one will be.” That’s a great line and I love the statement it makes on modern-day society.
Well, it’s applicable to music today. The crappiest band in the world can make a record and put it on iTunes. 441 is on iTunes, Rhapsody, Napster, Amazon. We have distribution now that we’ve never had before. Do we deserve to be on iTunes? I’d like to say yes, but the same manner in which we got that distribution any other person can get their music on those stores – it had nothing to do with merit, development or recognition.
As a music listener you have tremendous choice. Nearly infinite choices. Practically, it’s impossible to find the diamonds in the rough. No matter how easy it is for us to bash record companies – and God knows they deserve it – they served a purpose: to find that raw material and finish them into an artist. Who does that now? You can argue that the machine did a pretty good job delivering to us artists we should be hearing. Elvis, Beatles, Stones, Zeppelin, Van Halen, Michael Jackson, Prince, Paul Simon, U2.
I just don’t know if it’s possible to do that anymore. Who do we now depend on to weed through an endless number of “artists” so as consumers we have an idea of who to listen to? Even if there’s a site or a music critic that has some value, the machinery to take raw talent and hone them isn’t there. Developing an artist is nearly impossible for record companies. Their revenue streams are eroding and the business environment dictates an artist become profitable yesterday.
As for the quality of the top artists, I’m not sure that could be worse. Billboard’s Band of the Decade (for 2000-2009) was Nickelback. God help us all. Go look at the Hot 100 charts. If you don’t have a song “featuring” somebody, forget it. If you’re not a Hip-Hop/Hitmaker or Country fan, you’re out of luck.
Any world where Creed is making a comeback has to make one wonder if better times are behind us.
Sure, there are some good acts out there, but the music world is so dominated by the modern urban sound that the little slice of pie us rock/band-based fans want is gobbled up by John Mayer, Coldplay and Nickelback.
When you combine that with the still-rampant theft of music by millions of us there’s just not enough money in the business for good bands to be nurtured and flourish. Anyone who happens to be reading this who regularly gets music for free needs to understand they are drying up the well that serves their musical thirst and they need to stop. Buy the songs. If you like something, tell your friends to buy it. Anything else is stealing.
You speak about people stealing music, and I would agree people need to stop. I have also wondered if maybe the music industry didn’t help that happen more than they want to admit. They always push people to only care about the newest hottest music. I wonder if people got so hooked on having something new, that they latched on to stealing as a means to fulfill that desire that the music industry encouraged in the first place? I believe that you have to hold people accountable for their actions, but do you think that maybe the companies might have been also planting the seeds of their own destruction all along?
GH: That’s a good point. I think the industry/labels surely made their own bed in the way they reacted to Napster, etc. They reacted like they could control it, which was a huge strategic mistake. Did they think the internet and digital music was a fad that would blow over, like Disco? This is not an easy problem to solve, to be sure. But they got it wrong from square one.
Bottom line, people steal music because they can get away with it. I’ve done it and 95+ percent of the people reading this have also. Most of it is done because people can get something for free without anyone knowing and it’s easy to rationalize.
However, a lot of us have downloaded or shared music because it’s too hard to get the music we want using “their” channels. Once we had the world at our fingertips in the comfort of our own house with the internet, the idea of driving all over town only to be forced to buy a $16 CD full of songs we’ve never heard and that were likely terrible – just for that one song – was untenable. Just search your favorite peer-to-peer client instead and you’re listening to that cool song in 10 minutes. Fast and free.
If record companies had a vision of “fast and cheap” ten years ago they would likely be in a much different spot now.
The fact that they didn’t even seem to recognize the entire world was changing was astounding.
Some people have begun to declare that the old Christian music scene was a mistake that “God never wanted.” Some seem to wish we could restore it to what it was. Looking back on it, what do you think about the scene in hindsight?
JG: Personally I wouldn’t want to qualify the scene as whole like that, but back in our day we weren’t hearing a lot of “Christian” music suited to our taste. It’s been interesting to have heard comments this many years later from fans who say something like, “441 didn’t sound like a ‘Christian band'” and we take that to mean there was a community out there that felt unsatisfied, as we were, with what was being offered at the time. So we were delighted to come across the alternative scene springing up in Orange County that “scratched that itch” so-to-speak for many of us. Music is an art, and people’s tastes are going to vary whether in the church or out. Fortunately it’s a different day and there are a lot more choices for Christians today with respect to musical genres. I, for one, think that’s a good thing.
But again, I really believe it comes down to nothing more than personal taste. I was leading a worship team at my church, and on the occasions when my team played on a Sunday morning there was a sweet elderly lady, probably in her late 80’s or early 90’s, that would go out of her way to come thank me for the worship songs we sang (usually a mixture of rocking Lincoln Brewster and Chris Tomlin tunes with softer Hillsong inspirational stuff.) As I thanked her I would ask if she thought it got too loud, and she would enthusiastically respond, oh no! By contrast, there was another lady, who had to be decades younger in age, who routinely requested I play traditional hymns. Go figure. I really think this whole rock music and the church argument is tired. Move along people.
GH: How would those people know what God wants? Burning bush? However, I know a lot of humans – in and out of the industry – who didn’t want.
Here’s a little story: Just after we had our first successes, two of my closest friends outside of the band told me they weren’t sure God endorsed or approved what we were doing as a valid form of ministry. Frankly, I didn’t personally push the conventional “ministry” thing as a core facet of 441 – I had a different approach. But the beard-stroking hubris, the pride that comes from people in my story or the ones who say God never wanted something is incredible. Not only incredible. Distasteful and offensive.
Regardless of what God (or my friends) thought, stakeholders were trying to manipulate what was happening to fit their plans, preconceptions or prejudices. If you have an entire operation built to make Russ Taff or Carmen successful, why would you want to retool for Adam Again?
It even happened from within. We were asked to put more references to God in our songs. We thought there were just the right number of references to God. But sometimes you have to play the game. “Add a ‘Jesus’ and we get to do a record? Jesus, Jesus, Jesus!”
It’s what we humans do – mess things up to suit our own needs.
As for thoughts on the ‘scene’, John hit it on the head above. Shortly after I became a Christian (at 17) my also-newly-minted-Christian friends (ironically, the same ones I mentioned above) took me to one of those Disneyland or Knott’s Christian music nights. It was terrible. At the time I was listening to KROQ in LA – Talking Heads, early U2, Violent Femmes, Gang of Four, the Clash. I had already been a fan of the Police and Joe Jackson for three years or so. I heard nothing even close to that at Celebration Praise ‘81 or whatever it was called.
That experience motivated me to learn music and try to do it better – sort of a ‘put up or shut up’ – and 441 was born within three years of that moment and not long after we were playing Knott’s Berry Farm.
Of course, we weren’t the only or the first. Right when I was getting good enough at bass to start thinking about playing in a band I went to Calvary Chapel and saw Undercover and The Lifters and was blown away. John and I also ran sound one night for a band named Jonny Kat at a local church. The music and energy these bands brought was appealing and infectious. It totally energized us – as it did thousands and thousands of others.
Those were great times and nothing can be restored to its original state. They now say dinosaurs are the ancestors of birds. Now, Switchfoot, Relient K and Hillsong are successors of Undercover, Altar Boys, Lifesavors and The Choir. And The Edge is the Godfather of every worship band guitarist on the planet.
However – and this is not any commentary on the groups mentioned above – the vast majority Christian music STILL “sounds Christian”. You know, that certain way the guy sings… is just like the other guy, and the other guy, and the other guy… and there’s something about it that just seems fake or contrived to me. I heard it as a 17 year old and I still hear it. I’m completely uninterested. Aside from some of our brethren back in the day, I’ve not one Christian album in my collection. Not that I’m saying it isn’t good for other people – a lot of people enjoy that music. It’s just not for me. And I know it’s not for a great, great many other people.
Go listen to “I Want You” on Abbey Road when John overloads the mic preamp with his scream. Raw, honest, authentic. Listen to “Love’s Irony” on the 441 rerelease. There’s a guy who’s still hurting from a lost love. It’s intense. Whether it’s a scream or a whisper, people want to relate, to feel, to think. That’s what the bands in that scene were trying to do. That approach ultimately didn’t fit into the plans of the people who had the most power.
As for our part, it was fun and exciting. And it did touch people. We still have people write to us to let us know that. That is just amazing and I feel honored to have been a part of something that positively influenced someone else.
So, is it safe to say that all of the members of 4-4-1 still consider themselves Christians? We have covered many different people from older Christian bands that are all over the place with their beliefs now, so it is always interesting to see where people have been on their journeys, no matter where they are now. How would you describe your journey from when you were in the band until now?
JG: Of course the 80’s were a lifetime ago for all of us, but yeah I think it’s safe to say our faith has remained intact. As Glenn mentioned, we’re all involved one way or another in our respective churches. But like Hebrews 12:1 says it takes endurance to run the marathon that is the Christian faith.
GH: It’s true that some of the figures from back then are in radically different places now. Some stories make me a little sad. Many of us saw an underbelly of the church by virtue of our access that affected our own beliefs and practices.
Personally, I’ve experienced things that make it difficult for me to trust someone who talks a certain talk.
I’ve always been the guy on the outside and I’ve accepted – even embraced – that destiny. My role now is to help my daughters grow into grounded, loving, caring individuals. I like to talk about God with them and encourage their curiosity. But, I will also protect them from many of the “Christian” things that affected me.
The best thing from this arc of 441 has been my relationship with the other guys. John, John and Steve have made a huge impact on my life. It hasn’t been all sunshine and lollipops, and that’s why I value them so much.
If there had been more time at the Broken Reunion, what other songs would you have liked to have in there?
JG: There are several songs off the Sacrifice album that we like to play, “Pray For Rain,” “Judas Kisses,” and others. For some reason we usually can’t make it through a rehearsal without a spontaneous jam of “Love’s Irony” erupting. We’ve also been known to throw in a cover like “What’s So Funny about Peace Love and Understanding,” as we did the following year at Spirit West Coast.
GH: You mean what songs are we going to do at the next big concert? John made some excellent suggestions, but what I want to do is get all those bands back together and we’ll do each other’s songs. THAT would be fun.
Glenn also had this to share about the photograph at the beginning of this story:
GH: photo of our Mourning Into Dancing photo session which produced the black and white album cover. This was the night of the L.A. Street Scene festival. We, as well as Undercover, played. It was a raucous scene and the riot police were called in. I don’t think they have that festival any more. The shoot location was in a bad part of town and Steve’s car was broken into while we were in front of the camera. Speaking of controversies, the shirt Steve wore for this shoot (shown in all it’s red-and-white rugby glory here in the attached photo) didn’t go over too well with the label head, Harry Barnes. Harry was getting “cool” cues from Gene Eugene and the Gene Crowd thought our look – namely Steve’s shirt – was, well, lame. It was 441’s version of “Smell the Glove” except we probably would have been better off with a bona fide controversial cover like a woman on all fours with a dog collar around her neck. Maybe the Evangelical Christian version would be a woman reading the Book of Mormon with Rosary beads around her neck?
I digress. Many long discussions ensued and ideas – such as re-shooting the cover, doctoring the existing photo and filling in Steve’s shirt so it was monotone, putting a picture of U2 on our cover – were all bounced around (okay, I made up the U2 thing). Ultimately, it would have been expensive and forced a delay in releasing the album. So, the shirt survived to offend hipsters worldwide.
——————————————————————————
Be sure to check out the 441 website:
You can order CDs, buy mp3s, read lyrics, and check out all kinds of 441-related information.
441 can also be found on the usual sites like FaceBook, Twitter, and MySpace. See the 441 main site for links.
You can also find information about Glenn’s band The Blind at their website:
Above: John Giali at Broken concert, credit: Blake Schwendimann.
Above: 441 (with Ronnie Martin on keys and Joe Medrano standing in on bass) during the Broken Reunion concert, August 19, 2005, credit: Blake Schwendimann.
Above: McNamara at the 441 album release show for the Broken Reunion release, credit: Kim Loy.
Above: McNamara and Medrano at the 441 album release show for the Broken Reunion release, credit: Kim Loy.
I am an old friend of John McNamara. I would love to have a quick chat with him.