James Mastro is a guitarist, multi-instrumentalist, producer, singer-songwriter, and one of the architects of the Hoboken Sound of the 1980s. James has toured the world dozens of times over with some of the biggest and most critically acclaimed rock and pop artists ever to grace a stage. They include Ian Hunter, Patti Smith, John Cale, The Jayhawks, Alejandro Escovedo, Garland Jeffreys, and Jesse Malin.
He also worked with Robert Plant as his musical director for a benefit concert for an artist that they both admired immensely, Love’s Arthur Lee. From The Beacon Theatre in New York City to the Shepherd’s Bush Empire in London, James has roused crowds with brilliant performances channeling the sonic inventiveness of David Bowie and the tastefulness of Mick Ronson.
At the age of 16, he already was playing at CBGBs and Max’s Kansas City during the height of the NYC punk scene. By the time James was 17, he was asked by Television’s Richard Lloyd to join his new band, which included playing on the highly acclaimed Alchemy album on Elektra.
Moving to Hoboken in 1980, James added his guitar and songwriting skills to The Bongos, helping launch the music scene based around the legendary rock club Maxwell’s. The Bongos went on to tour non-stop for five years supporting Drums Along the Hudson on Jem Records and the RCA releases Numbers with Wings and Beat Hotel. They were an integral part of Hoboken’s internationally recognized music scene also pioneered by The Feelies, The dB’s, The Individuals, The Wygals, The Cucumbers, Beat Rodeo, Yo La Tengo, Rage to Live’s Glen Morrow, founder of Bar/None Records, and Steve Fallon (co-owner of Maxwell’s and co-founder of Coyote Records).
Bar/None and Coyote have been globally influential labels, and Maxwell’s was a pioneering alternative rock whose first-ever band was The Bongos. Sonic Youth, R.E.M., and Nirvana played there in their early days.
Also in the early nineties, James formed Health & Happiness Show, who quickly became alt country darlings, about whom Request Magazine wrote, “Mastro is one of America’s best songwriters.” With two albums, Tonic and Instant Living, on Bar/None and Sad & Sexy on the Cropduster artists co-op label, H&H Show toured non-stop with Wilco, Golden Smog, and Texas troubadour Butch Hancock up until their final show in 2001.
James has been anything but idle since H&HS’ retirement. That same year, he added his guitar playing skills to legendary Mott the Hoople frontman Ian Hunter’s triumphant return to stage and studio, and he’s been his left-hand man ever since, appearing on his past seven albums. James also was a member of the Mott the Hoople reunion tour in 2018-19 in which he taught himself how to play saxophone for the show.
His production and session credits include Jill Sobule, Steve Wynn, Phoebe Snow, and Rachael Sage, founding owner of MPress Records, which, earlier this year, released James’ long-awaited solo debut album Dawn of a New Error. After a distinguished 48-year career playing in celebrated bands and for other artists, James finally has stamped his name atop an amazing album that features 11 fiery cuts within an arsenal of sound. Textural and otherworldly one minute and retro-rock the next, each track on Dawn is a master class in crafting timeless hooks, intelligent lyrics, and kickass playing that any fan of Elvis Costello, Tom Petty, or Wilco will embrace.
Produced by Tony Shanahan (Patti Smith’s bassist, co-producer, and musical collaborator) at Hobo Sound, the album was recorded and mixed by Grammy nominee James Frazee (Patti Smith, Sharon Van Etten, Marshall Crenshaw) and mastered by the legendary Greg Calbi, whose 7,500 credits include John Lennon, David Bowie, Ian Hunter, and Bruce Springsteen’s “Born to Run.”
James and Tony worked together for years in Health & Happiness Show, which also included Vinny DeNunzio (The Feelies) and at various points, Richard Lloyd, Ivan Julian (Richard Hell & the Void Oids), and Graham Maby (Joe Jackson).
James wrote and sang all the songs on Dawn, along with playing all guitars and mandolin. Tony played bass, keyboards, and sang backing vocals. Noteworthy drummers on the record include the late Louie Appel (Southside Johnny), Brian Griffin (Brandi Carlile, Black Crowes), Steve Goulding (The Mekons, Elvis Costello, Nick Lowe), and Bill Dubrow (Yoko Ono, Linda Thompson).
Bursting with timeless rock hooks, shout-it-like-you-mean-it vocals, and clever, thoughtful lyrics, Dawn”is a timely album that toes the line between twangy Americana and art rock. The raucous album opener “Right Words, Wrong Song,” the hopeful “The Face of the Sun,” and the fast-moving “Three Words” all feature Ian Hunter on guest vocals.
The album also features the Mastro-named Jersey City New Heights Gospel Group. They are comprised of Jersey City-based Grammy nominee and New York Blues Hall of Famer Christine Santelli, Richie Havens/Swamp Cabbage guitarist Walter Parks, veteran Hoboken songstress Karyn Kuhl, and Tony Shanahan – and The Radio Free Song Club Singers – George Usher (House of Usher, Beat Rodeo), Hoboken singer-songwriter Kate Jacobs, legendary singer-songwriter Freedy Johnston, and country singer-songwriter Amy Allison.
Live, James often plays with his backing band, The Gold Stars, featuring Tony, Smithereens drummer Dennis Diken, Memphis keyboardist-vocalist-guitarist Megan Reilly, and Elk City guitarist Chris Robertson. They will play November 9 at Concerts in the Studio in Freehold, New Jersey, and December 11 at Bowery Electric in New York City. Solo, James will play October 26 opening for The Jayhawks at Newton Theatre in Newton, November 15 at Chromatic Studios in Kingston, New York, and November 30 opening for Richard Thompson at The Tabernacle in Tabor. He will share the stage with Marshall Crenshaw on a tour that includes November 13 at City Winery Boston, November 14 at Stone Church in Brattleboro, Vermont, November 16 at XL Live in Harrisburg, Pennsylvania, November 17 at City WineryNYC, November 20 at City Winery Philadelphia, November 23 at The Wonder Bar in Asbury Park, New Jersey/ James also will do a three-night live recording with longtime friend Alejandro Escovedo from October 23 to 25 at Continental Club in Austin.
The following chat with the Makin Waves Artist of the Month for October chronicles an amazing career and an equally amazing new album.
You have had a very long and distinguished career. When you look back on it, what do you feel is your greatest achievement?
Hmm… good question. It’s hard to pick just one. Playing CBGBs when I was 16, the first gig I did with Ian Hunter, and playing with Patti Smith in Athens, Greece – land of my ancestors – all stand out. But thinking about it, the greatest achievement was non-musical. It would have to be surviving a serious highway accident on tour with Health & Happiness Show where our van rolled twice, and then walking away with no one seriously injured. The life I chose could have ended there, either by accident or by the choice of never playing again. I chose to get back into a new van.
Why did it take 48 years to release a solo album?
Well, the past 23 years, up until 2020, I was working with Ian Hunter on a regular, serious basis. When tinnitus forced him off the road, I suddenly found myself with more time on my hands. Even though with Health & Happiness Show I was the main songwriter, it was still a band, which lets you put the blame on a bandmate if something goes wrong. With a solo record, I figured I’d man up and take the brunt myself!
How sweet was the release of Dawn of a New Error?
I have to admit, it feels good having something out again of my own and getting such a good response. I’d been very content and happy playing and recording with other folks all these years, as it’s a lot less pressure, but so far, so good.
What inspired the LP’s title?
There’s always the potential for heartbreak when you release a new record. Expectations run high, and then it may not do as well as you’d like it to do, so there’s that hint of dread mixed with the anticipation. “Am I making a mistake? Will anyone hear this?” The title is just a reminder to myself that mistakes will always be made, but I’ve found that if mistakes are looked at in a certain light, that can usually lead me to a better place.
When did you write the album’s songs, over a long period of time or all at once?
These songs were written – or partially written – over a long period of time, with the germ of an idea started while walking my dog, who I should probably give co-writing credit to! But what really got this off the ground was when friend and former bandmate Tony Shanahan was opening his studio. He wanted to test the equipment and room with some trial recording sessions, so he called me and asked if I had any songs to record. We did this over the course of a few years whenever we both found our schedules had some down time. When free time popped up, it’d force me to finish something I’d been working on.
When and how did you meet Tony?
I was introduced to Tony by Graham Maby, who was the original bass player in Health & Happiness Show. When Graham was called to go back out on tour with Joe Jackson, he recommended Tony to take his spot.
What do you enjoy most about working with Tony?
We both have very similar record collections, so that’s a good start! If we reference something, we usually know immediately what the other one is talking about. Over the 30 years of working together, you develop a certain trust in the other person’s instincts. He’s going to let me try new things that may be strange at first, and I’m going to listen to him if he thinks it’s right. Plus, we both like Guinness.
You used several drummers on the album, including the late Southside Johnny skinsman Louie Appel, but live, you’ve been working with Smithereens drummer Dennis Diken. What do you enjoy most about working with Dennis and why?
We go way back to when The Bongos and Smithereens were on tour together. Dennis is a true music historian, with a deep knowledge of drummers and bands. Again, we share a lot of musical references. With that knowledge, he brings a sense of swing in his playing that harkens back to the early days of rock, when jazz drummers were starting to play rock and roll; always exciting, always paying attention to where the other musicians are going.
Besides Tony and Dennis, who else is in The Gold Stars? How did you connect with them, and when and where will you be performing with them?
On vocals, guitars, and keys, we have Megan Reilly. I’ve been playing guitar live and on record with her over the past 15 years or so. She’s originally from Memphis, and I feel that she is hands-down one of the best singers you’ll ever hear, so I highly recommend folks seek out her music. She’ll fool you into thinking she’s just a purring kitten, but then this lion’s roar comes from somewhere deep within. I like how her voice sounds with mine, and on a song like “Three Words” from the album, she just shines.
Guitarist Chris Roberston plays guitar in Elk City, one of my fave Jersey bands. We’re both effects pedal freaks, so I knew l could rely on him to handle live all the noises I made on the record, allowing me to focus on doing whatever a front man is supposed to do. [He is] a great player for sure.
The next full band shows are Saturday, November 9 in Freehold at Concerts in the Studio – a really special, intimate setting that I’ve played with Alejandro Escovedo. And then on December 11 at NYC’s Bowery Electric, one of the last real rock clubs in the area.
How did you meet Ian Hunter and come to work so closely with him?
I pretty much forced my way into Ian’s band! I heard he was coming out of retirement in 2000 to do a show at the Bowery Ballroom. I was friends with Andy York (guitarist for John Mellencamp) who was putting the band together for this show. I rang him and offered my services, but all the positions had been filled except one: mandolin. I said I would do that, so I got the green light. The only issue was, I didn’t play mandolin, let alone own one! I borrowed one from a friend, stayed up all night and learned the songs for the next day’s rehearsal, and somehow passed the test.
What do you enjoy most about Ian’s contribution to Dawn of a New Error?
That voice! There’s so much character in it, and it’s a voice that sounds honest: been there, done that, and willing to do it again. He was initially only going to sing on “Right Words, Wrong Song.” After he finished his great take on that, he asked to listen to the other songs, so that’s how he also ended up on “Three Words” and “Face of the Sun.” He hears and sees things in a different light, and what he brought in was nothing Tony or I had envisioned, but it was perfect.
What are The Jersey City New Heights Gospel Group and The Radio Free Song Club Singers, and how and why do they contribute to the album?
Those are names I gave to the two groups of friends that sang on “Someday Someone Will Turn Your Head Around” and “Trouble.” These are all folks who mean a lot to me, and having them all together for my benefit generated a lot of love while singing those songs.
Had you ever worked with MPress Records before Dawn of a New Error?
MPress Records is a label that is woman-owned and -operated, headed by Rachael Sage. Not only is she a savvy label head, but more importantly, a singer-songwriter that I have huge respect for, and I’ve been fortunate enough to play on her last five albums and done some touring with.
What do you think of the job they’ve done with the LP?
I couldn’t be happier. Being that Rachael is an artist, too, she understands what her fellow artists need and expect, and that’s true of everyone who works there. I’d rather be a goldfish in a thimble than a shark in the ocean.
How did you meet Richard Lloyd?
It was very much by happenstance. At 16, I had a band with my older brother, John, and two high school friends called Fast Car. We pressed a single in 1977 and took the bus into New York to see if the premier punk-rock record shop at the time – Bleecker Bob’s – would sell it. Bob listened to it while we were in the shop and immediately called Terry Ork, founder of Ork Records, who issued Television’s first single, “Little Johnny Jewel.” He told Terry to check us out, which he did, and offered to do a single with us with Richard Lloyd producing. We met with Richard, but the single never came to fruition. Richard remembered me, though, and when Television broke up, he called and asked if I’d join his band. I was still in high school, just got my driver’s license, and for some crazy reason, my folks would let me borrow the car to go play NYC as long as I got home in time to go to school.
How and why did you end up in Hoboken?
I had met The Bongos when they were a trio and would go in to see them play at Maxwell’s when they were first starting. I was just getting ready to leave high school early, and Hoboken was affordable. My first rent was $80 a month, and a slice of pizza was 25 cents, so you didn’t have to have a high-paying job if your goal was to play guitar.
How did The Bongos come to be?
The Bongos – Richard Barone, Frank Giannini, and Rob Norris – came out of the band ‘a,’ which also had Glenn Morrow, who went on to found Bar/None Records. They were a great trio and I loved seeing them at Maxwell’s. I was still playing with Richard Lloyd at the time, but would occasionally sit in with them, which was always a blast.
What influence did Marty Scott and JEM Records have on you and The Bongos?
I didn’t meet Marty until after he’d put out the first Bongos’ album, Drums Along the Hudson, which is when I joined the band full-time. Marty’s JEM Records was not your typical label. It started out as an import label, bringing in records from around the world that weren’t distributed internationally. From that, he started signing bands and was instrumental in giving a lot of artists their first shot – much like MPress records now. The Bongos got signed to RCA records after the success of Drums Along the Hudson, but we knew it was going to take a while for the paperwork to be done. Marty asked if me and Richard would like to do an album in the interim, so hence, our duo album, Nuts and Bolts. Without Marty’s encouragement, that record – which is very special to me – would never have been done.
Given that you still live and own a business in Hoboken, how does it feel to be one of the architects of the Hoboken Sound with The Bongos?
Old? The eighties were a very special time musically in Hoboken, and I’m proud to have been a part of that. At first, before the word got out that there were all these cool bands here, it was just local bands going to see the other local bands, so the support and community were very strong. The Hoboken Sound was quite varied, but the spirit was very unified.
How and why did Hank Williams inspire The Health & Happiness Show?
By the late eighties, I kinda became disenchanted with the music business. After The Bongos, I had a band Strange Cave that was courted by every major label at the time, but eventually, nothing happened. I found I was trying to write and perform to please some guy in a suit that I’d never met, and it just took the joy of playing music away from me. I found an old Hank Williams cassette in my collection and started listening nonstop. The simplicity, yet depth of the lyrics combined with just three chords I found refreshing and something to aspire to.
When did you open Guitar Bar and why?
Guitar Bar opened in late 1996. I’d just come off tour with legendary troubadour Butch Hancock, where Health & Happiness Show was his backup band. We were expecting our second child, so I figured I needed some kind of appearance of being a responsible father by having a business to fill in the financial gaps between tours. Butch had a studio and gallery in Austin, and seeing how he used that as his anchor inspired me to do something similar. Little did I know I’d be my best customer.
What are you looking forward to most about trekking to Austin to record and play on Alejandro Escovedo’s live album for three nights at the Continental Club?
Besides the tacos and tequila, it’s getting to play great songs with one of America’s finest songwriters. There’s such a wide range to Alejandro’s songs, from heartbreaking ballads to Americana rock, to his latest venture of deconstructing his songs into a blend of Kraftwerk meets The Stooges. He gives me a large canvas to add my colors to, and I’m honored to be asked to contribute. And did I mention the tacos and tequila?
What other recording projects are you working on now and/or in the near future as an artist and/or a producer, and will a solo follow-up to Dawn of a New Error be among them?
I’ve started writing for a follow-up album, but I’ll still be on the road through much of 2025, so we’ll try and do some recording when time allows. As far as producing, I did the Ian Hunter track, “Dead On,” for Silver Patron Saints: The Songs of Jesse Malin. I also just finished an album with a powerful singer named Greg Amici, which should be out early next year, preceded by his cool version of The Kinks’ “Father Christmas,” which should be out soon. Also, I will start work producing an album for French artist Laurent Moitrot.
FOR MORE JAMES MASTRO, INCLUDING TICKETS TO SEE HIM LIVE & PLACES TO PURCAHSE/STREAM HIS MUSIC, VISIT HIS WEBSITE!
