Between Memory and Future: When Music Becomes Legacy

The upcoming premiere of This Is Not A Drill in New York brings with it a story that transcends theatre. It is not only a musical about urgency and humanity, but also a dialogue between generations, carried by the hands of those who have shaped its sound. At its heart are two musicians whose paths, though different, converge meaningfully: Ben Babylon, son of the late Guy Babylon, and Paul Bogaev, whose legendary career on Broadway and in film has left a lasting mark. Together, they embody a bridge between past and future, between memory and innovation.

Today, we step into this universe with two voices who make it grow and shine: Ben Babylon and Paul Bogaev.

Ben Babylon is a young musician and music director who has grown up surrounded by instruments and memories. Son of Kathy Babylon and the late Guy Babylon — keyboardist and arranger for Elton John — Ben has inherited both passion and creativity. His journey has taken him through studio work, production, live performance, and now the world of musical theatre. In This Is Not A Drill, he has been a key figure: recording much of the music, assisting in musical direction, and leaving his mark on the arrangements and atmospheres that define the show.

Paul Bogaev, by contrast, is an established figure. A Grammy Award winner with a long career on Broadway and in Hollywood, he has been music director, arranger, and composer for musicals and films that are now part of history: Aida, Tarzan, Sunset Boulevard, Les Misérables, Cats, Chicago, Dreamgirls, The Lion King… His connection with the Babylon family runs deep: he worked closely with Guy Babylon on Aida, and now, years later, life has brought him to collaborate with Ben. A meeting that feels like a circle closing — and opening again.

And so, with all this in mind, we begin by listening to Ben Babylon, whose personal and creative journey opens the door to understanding how This Is Not A Drill was shaped.

Ben, you’ve played a key role in the production of This Is Not A Drill, from recording much of the music in the studio to assisting with musical direction. What has this experience been like for you?

It has been an incredibly rewarding and exciting experience. I have never done anything like this before, and it has been amazing to watch the process. Around 6 years ago, my mom told me she was starting to work on a musical with Holly (Doubet), and I thought – oh, that sounds fun! But I never could have imagined what it would eventually turn into. They asked me to help them create some demos for some of the songs — but with my mom and Holly, they never do anything halfway. Those demos turned into full-blown productions. It was a really fun process. They really wanted to fully conceptualize these songs, they didn’t want them to sound like demos. So they allowed me the opportunity to really have a lot of fun producing some of the songs with full band and orchestral arrangements, and to explore all sorts of instrumentation. From doing more rock/pop inspired tunes where I got to work with some of my favorite musicians and collaborators — like my incredibly talented friends Tristan Beltrami on guitar, David Kohn on drums, Alex Arnaout on bass, Aaron Burch on vocals; as well as legendary musicians and collaborators of my dad’s, like John Mahon on percussion and Ken Stacey on vocals. They also pushed me and gave me the opportunity to write strings and horn arrangements, as well as exploring all sorts of genres and production/songwriting styles. I also got to work with my mom, which I hadn’t done much of up to this point, which was very special and something I will always cherish. Even after creating some really amazing recordings with all these talented people, I had no idea what it would ultimately become. I only knew these songs as songs, and not really part of a larger story. Soon enough they were doing live readings with casts, and it wasn’t until they did their first reading in Texas that I understood the bigger picture of it all. I didn’t get to attend that first reading, but I got to see it on video, and I got to see these songs in the context of the greater story, and I was blown away. I started to realize that this was all part of something much bigger — something I couldn’t have imagined then, and probably still can’t fully. I got to join them for the next live reading in New York earlier this year, and that is when I truly got introduced to the world of Broadway musicals, and I got to see the process and the incredible amount of work that goes into putting a musical like this on stage. It’s been a really amazing journey, and it still feels like it just started.

How did collaborating with Paul Bogaev on the overture feel, especially working in the same studio where your father recorded for Aida? How did that connection influence your approach to This Is Not A Drill?

Working with Paul Bogaev was really special. I had never written an overture before, and I honestly didn’t even know how to go about it or where to start. Paul was an excellent guide through this process, and collaborating with him was an invaluable learning experience for me. I had musical ideas, but Paul knew how to guide them into the form of an overture. Paul has an amazing mind, and he would have ideas that I never would have thought of that elevated the overture to be not just an interesting musical piece to listen to, but also a captivating storytelling experience. Sometimes, when working with somebody who is much more experienced than you in a certain field, they can have a tendency to make you feel inept, or to fully take command to do it their way. But working with Paul was truly a collaborative process. Even with so much more experience than me, he was willing to hear my ideas and to do things in a way that may not be traditional, and was genuinely excited and inspired doing it in a new, maybe refreshing way. And in turn, I got to learn so much from Paul, and got to see how his brilliant mind works. We recorded it in my family’s home studio, the studio my dad built, and the same studio where Paul and my dad worked on Aida, which brought a whole other meaningful layer to this process. He would have these flashbacks as we were working, telling me stories about my dad, pointing out in which ways I reminded him of my dad, and I got to learn so much not only musically, but also about my dad and what he was like and how he worked. It really was a meaningful experience for the both of us, and I am excited to continue working with him on this project and and hopefully on many more in the future.

Working closely with the cast and creative team, how did you help shape the musical’s sound and atmosphere, and what challenges or surprises did you encounter along the way?

I think a lot of the mark I've made on this project comes from the original "demo" productions that I produced before a cast, book, or large creative team was even in the picture. The songs my mom and Holly wrote were truly special, and when I approached the production of the demos, I was hardly thinking of the "Broadway" sound or anything like that — I just wanted these songs to feel fully realized on their own and I approached the production like I would with any other pop or rock song. Holly and my mom definitely kept their vision intact, but they allowed me to put my mark on the arrangements and production. When later translated to stage, I think this is part of what sets these songs apart from other musicals. Because while we definitely re-arranged the songs to be better translated to stage, we still emulated a lot of the production and arrangement elements from those original demo productions. Now, as we prepare for the full production of This is Not A Drill premiering in a couple weeks, I am working closely with the insanely talented music director, David John Madore, which is also a wonderfully fruitful collaboration. David has amazing sensibilities for adapting these songs for stage, and I don’t think we could have a better person for the job. The collaboration is great, because he is able to figure out how these songs can be translated best for this medium, and the kinds of sacrifices, changes, and improvements we need to make in order to be the most impactful it can be within the context of full story, while I bring different sensibilities relating to the original intention of the arrangements and vibe that we desire for each song. There have been a lot of ideas David has come up with that have really surprised me and taught me a lot about this foreign world to me. There are just certain things that are different when you produce a recorded song versus when you translate that to a live band for stage in the context of a complete story, and that is what David and I have been working on. There are all sorts of challenges and elements to think about — things like scene transitions, song endings crafted to spark a specific audience reaction, or arrangement changes that inspire the actors to fully dive into their characters, that you just don’t think about when producing a song. And luckily, the whole team we are working with — including Holly, my mom, the director Gabe Barre, the whole cast and crew — is extremely talented, and willing to collaborate and to change things in order to achieve the best possible outcome. Everybody is working unbelievably hard to help This is Not A Drill come to life, and believe me — it takes a lot of work from a lot of people to make something like this happen, and no one is underdelivering. We truly have an amazing group of people, and that is making all the difference.

David John Madore is a musical director, pianist, composer, and vocal coach based in New York. With an established career in musical theatre, he has been involved in numerous notable productions, particularly at the cabaret 54. In addition to his work as a musical director, Madore is also a vocal coach and composer, offering services through his website and sharing his expertise in musical direction, accompaniment, and composition (www.madoremusic.com)

So Ben, what current projects are you working on, and how do you see your career evolving in the near future?

Other than This Is Not A Drill, I have been working in California, producing artists and bands out of my home studio. Over the past couple years, I’ve produced a several projects I am very proud of, including Mar Solis’s debut album Colors of Love, Kudos To’s first single Jackie, and an upcoming album for the band Sir Please of which a couple singles have been released including 21st Century Funk, Trippin, and Fever. I’ve also been composing music for film and TV with my good friend and collaborator Tristan Beltrami. We recently scored the HBO docuseries about Ted Turner, Call Me Ted, with the music supervision of Marco Beltrami, and we are currently working on a very exciting Netflix documentary. And there’s some more projects in the works, but that’s where I’ll leave it for now!

Thank you, Ben, so nice to be with you. When Ben speaks of working side by side with Paul Bogaev, there is a clear sense of respect, admiration, and learning. It feels natural, then, to turn now to Paul Bogaev, whose decades of experience meet the enthusiasm of a new generation.

Paul, Ben has just described how meaningful it was to collaborate with you on the overture, especially in the studio that once echoed with your work alongside his father. How did you experience this collaboration, and what drew you to this project in the first place?

Kathy Babylon called me and told me about a show they were working on called 38 MINUTES. I knew the basic history behind it and was intrigued with the human element involved. I had worked with Kathy’s late husband, Guy Babylon on Elton John’s AIDA and I was very impressed with the songs and their arrangements by Ben Babylon, Guy and Kathy’s son.

Collaborating with Holly Doubet, Kathy Babylon, and Ben Babylon on the overture must have been a unique experience. Could you share what that collaboration was like and how it influenced the musical's direction?

I loved working with Ben on the overture and felt he “got” my way of insisting on telling a story with the music that would lead well into the beginning of the show and not just putting together a bunch of songs that sounded good. Holly and Kathy responded immediately to our work and the fact that we are all on the same page about the music bodes well for the next phase of the show.

Given your extensive background in both Broadway and film, how did you approach the musical direction for this production, and what challenges did you face in translating the story's emotions into music?

All good musical direction, I believe, stems from using the lyrics of each song like a 3 act play. The musical choices come from that whether on stage or on film.

Working in the same studio where you previously collaborated with Guy Babylon on Aida, and having worked with Elton John projects before, how did that environment and past experience influence your work on This Is Not A Drill?

It was wonderful and very meaningful for me to work with Ben in the studio where his father and I worked. I know Guy would be so proud of his son!

Looking ahead, what projects are you currently working on, and how do you see the evolution of musical theatre in the coming years?

I am now writing music and lyrics for a musical piece that will be performed in January. It involves a meeting of The Holocaust and Black History. The finale of the piece is called NEVER AGAIN if that gives you an idea of how much this subject means to me. I am also planning performances of NO SURRENDER -A songs by Bruce Springsteen and Tom Waits, my solo show that I did last year in London.

Thank you, Paul, such a blessed to be in touch with you too

Their voices, divided by generations and experiences, converge on the same stage: music as a living legacy. Ben brings the freshness and energy of a new vision; Paul brings the wisdom and memory of a long journey. And in the background, like a constant presence, resonates the memory of Guy Babylon, inspiring them both. This Is Not A Drill is not just a musical: it is a shared story, a dialogue between past and future, sung in the present.

Pictures courtesy of Kathy Babylon

“From Hawai‘i to Broadway Dreams: This Is Not a Drill”

 On the morning of January 13, 2018, thousands of people across Hawai‘i received a sudden and terrifying message on their phones:

“BALLISTIC MISSILE THREAT INBOUND TO HAWAI‘I. SEEK IMMEDIATE SHELTER. THIS IS NOT A DRILL.”

The alert triggered instant panic: people rushed to makeshift shelters, families scrambled to find one another, beachgoers were caught in a fog of fear and uncertainty. A collective lockdown of uncertain duration unfolded with a surreal intensity. Thirty-eight minutes later, a second message lifted the dread: it had all been a false alarm — the result of human error during an internal systems drill by the state’s emergency management agency.

This Is Not A Drill, a new musical conceived by Holly Doubet and co-written with Kathy Babylon and John Vester, recreates that surreal yet deeply human morning. It is not simply a dramatization of real events; it is an emotional excavation of how anonymous individuals, suddenly confronted with the possibility of death, connect, console, freeze, or act. It offers a warm but unsparing gaze into what truly matters when time momentarily stops.

Set to premiere at the Theatre at St. Jean’s in New York City, from September 9 through October 11, 2025, This Is Not A Drill seeks to capture the tension of a fractured moment — and resolve it through empathy, shared vulnerability, and musical tenderness.

So, welcome Kathy Babylon, welcome Holly Doubet.

I truly can’t imagine what I would have done in those long, drawn-out minutes...

People often say, “If that happened to me, I’d do this or that” — but when it’s real, when it comes out of nowhere, I believe we react not with a plan, but with instinct. You Holly lived that moment. And now you’ve turned it into music.

Let’s begin at the very heart of it all:

Holly, could you tell us how This Is Not A Drill came into being?

Hi Miguel! Yes - I spend time in Hawaii. I was there in January of 2018 when our phones started beeping an alert. It was quite loud and scary. On the phone there was an official warning from the state of Hawaii that said “TAKE IMMEDIATE SHELTER. BALLISTIC MISSILE THREAT INBOUND TO HAWAII. THIS IS NOT A DRILL.” So, for 38 minutes - until they figured out how to withdraw the official alert - everyone on the Hawaiian islands thought they were going to die, including me.

I see Holly, you were actually in Hawai‘i when the false missile alert happened. What was that experience like for you?

The experience was life altering. As I was standing in a small room with about 40 strangers, wondering if I would feel the blast or just disintegrate, I realized that I was very happy with my life. My two sons were grown and doing well. I had no regrets, there was nothing I hadn’t done that I wanted to do, and I was favored with many beautiful and fulfilling relationships. After I recovered from Post Traumatic Stress Disorder (I literally had it!) after two weeks in bed, I got up and decided I was going to do what I had been thinking about doing for a while: WRITE A MUSICAL! And this experience would be the perfect story.

And why choose the musical format to tell this story? What does music bring to it that other forms might not?

Honestly, writing musicals is what I should have always been doing. I started playing piano at age 4, studied at the Royal Academy of Music in London, then got a full scholarship to double major in piano and opera in college back in the states. My extensive classical training allows me to explore music in a fuller way, I think. I like to use inspiration from all over the musical world: from world music, or the lyricism of the great Puccini operas, or the sheer power of Beethoven, to the creativity and force of Stravinsky.

Great, Holly. Kathy: Can you share how the musical score and songs were developed to capture the tension and emotional landscape of the story?

Holly would call me and say this is what is happening in the story here. I need a song to express the motion of what this character is feeling. Holly usually knew what she wanted the song to convey so it as a wonderful way to write together.

The musical premiered in Dallas under the title 38 Minutes, but now it’s called This Is Not A Drill. What led to this change, and what does the new title convey about the show’s identity?

THIS IS NOT A DRILL is a stronger title and says so much more. It was written in the alert that went out to everyone in Hawaii, and as we all know, life is very uncertain and there is no time to waste. Sometimes there are no do overs. Do it now, enjoy life, love everyday. THIS IS NOT A DRILL!

Thank you, Kathy.

Moving on to the creative process and your collaboration as a team, how would you describe the working dynamic between the three of you—Holly, Kathy, and John—during the development of the script and music? How did you divide responsibilities?

I had a pretty solid idea on what all 16 songs were going to be. Kathy and I have been friends for nearly 50 years! So working together is not difficult. We are very open with each other. As we write, we honestly comment on ideas (I don’t like that, I LOVE that, or whatever!). And we are not done until we both like the results. There are times we have spent weeks on a single song. We wrote 10 of the 16 songs together, and I am still not tired of them! That is a good sign. John Vester and I wrote 4 songs together. I would give him a title or idea, he would send me a really good basis to start from, and we’d go from there.

Thank you, Holly.

Kathy: how did feedback from early performances, such as the Dallas premiere, influence rewrites or revisions to the text and music? Were there significant changes based on the live experience?

Well we had the wonderful Paul Bogaev come to Dallas to help us with the first reading and he brought in Gabriel Barre to direct. We could not have been in better hands. After the reading they both were convinced of the strengths of the show and wanted to move forward with us on our journey. Paul even said,”This is a orchestrators dream.” We are over the moon to be under their guidance moving forward. I believe there will be changes going on up to the last minute. We are always working on the show and tightening and improving what is already there.

What was the casting and artistic direction process like for the New York production? What qualities were you seeking in the actors and creative team?

The casting in New York is mind blowing. The talent is just so so good. So during this casting Felicia Finley auditioned for the lead role of Jessica. I was in California watching. She was phenomenal. She seemed familiar to me but I wasn’t sure why. When i asked our casting gent she said,”Well you know she was in Aida.” That just sent chill bumps. She worked with Guy Babylon (my late husband) and Paul Bogaev before on Aida. It just all seemed so meant to be. Felicia is now in our show!

Good choice, Kathy! What do you hope audiences take away regarding human resilience and communication in times of crisis? 

There is something in this show for everyone. We have all been through so much in our lives and these stories are all relatable. Watching how people rise up during a crisis and find the best part of themselves moving forward is inspiring. I hope audiences will feel the inspiration and leave uplifted.  

Revisiting that intense morning and those emotions through artistic creation must have been powerful. How has this process affected you personally? 

This has been the most fulfilling project I have ever worked on. It’s such a collaborative journey and hearing the music as part of the story is thrilling. There is nothing like Broadway!

For sure, Kathy! Finally, looking ahead at the future of the show and your journey: what hopes or plans do you have for the future of This Is Not A Drill? Are there tours, adaptations, or other projects on the horizon? 

We are hoping for a Broadway run of course. But we are also looking at taking it to Hawaii for a run since it is their story. Our Producer Jim Kierstead is talking about taking the show to the West End in London too. We are open to it all. We want this show to be a long running hit!

Hope so, Kathy! Bet for this! And as a closing thought, is there anything unexpected or memorable from the creative journey that you’d like to share with our readers? 

I am just blown away by the support all around us. This has been a beautiful journey to take with all involved. I love writing with Holly, and to do this with her, my longtime friend, at this point in life is just sensational. The topping on the cake for me is working in the studio with my son, Ben Babylon. His talent and support has amazed me. He has come to our rescue a few times when we have needed quick changes on the spot too. So nice to have him to lean on.

Thank you so much, Kathy and Holly, for sharing these insights with us.This Is Not A Drill will be performed at the Theatre at St. Jean’s in New York from September 9 to October 11, 2025. Don’t miss the chance to experience this powerful and timely musical live. Tickets are available now through the theatre’s official website and authorized ticket outlets. Make sure to secure your seats early for what promises to be a moving and unforgettable theatrical event. 

https://ci.ovationtix.com/34375/production/1245637

Pictures courtesy of Kathy Babylon

"I’ve learned to have fun with my songs": Ben Babylon's Interview in his 18th Birthday

Hi Ben. Nice you are here and happy b-day, first of all. Seems a long time when you had 12 years old and you wrote that wonderful and impressive song as a tribute to your father, the late Guy Babylon: "Goodbye Superman" touched so many hearts while you proved you could write great songs. You are so young, you are forming yourself to develop a music career.But in the other hand, you have your experience: no one could say he openend for Leon Russell, Ambrosia, Kenny Cetera or Macy Gray. I had the honour to have a taste of some of your songs and they were really amazing. But we want to learn more from you. So we really appreciate your kindness in being here, with your fans, at your fantastic date. So let's start simply with... What were you doing this last year?

Miquel! So nice to talk with you again. I’ve been very busy this past year. At the beginning of the year I joined a band called The Sposato Brothers Band, and I have been working with them a lot this whole year. At first I joined as a keyboardist, but I immediately started writing songs with them. We recorded a few of the songs, and we are finishing them up right now and I really hope to release them soon. I am now the musical director of the band and we are playing all around the Malibu and Los Angeles area. Besides that, I’ve been working a lot with Alex Arnaout in the studio — writing songs, recording them, producing them. Unfortunately, my band The Episodes broke up, but Alex and I have continued to work closely and we really have a lot of cool things cooking in the studio. Brian Schwartz has been coming over too and putting some guitar on the songs — it’s really been a lot of fun.

First we had Ben Babylon Band. "Contradiction" and a fantastic EP were released: "Further Interpretations of Real Life" with my favourite, the fantastic "Burning Man" in there. I remember seeing you playing live at The 2013 Elton John Expo with John Mahon and Davey Johnstone debuting this song. That was an amazing moment in your career. What those incredible musicians adviced to you?

The 2014 Elton John Expo was one of the coolest experiences musically for me. Even if I didn’t play at it, it still would have been an awesome experience. The band and I had a great time playing with John and Davey, they are insane musicians. John and I opened the show with a piano/percussion arrangement of “Song for Guy” by Elton John, and although that song has no relationship to my dad at all, it was an emotional experience for everybody nonetheless. We transitioned that song into “Burning Man,” my tribute to Bob Birch, which was really cool to play with John. Then Davey came up and rocked “Contradiction” with us — that was surreal!

Ben, here we have the fantastic Ros Dinsdale, from our Facebook group. She would love to ask you her question: Would you like to become a member of the Elton John Band, making an occasional guest appearance (like Ray Cooper does) at somewhere like Caesars, Las Vegas? 

No, never!  . . . . just kidding!!!!! Are you kidding!? It would be a DREAM to play with the Elton John Band — what a connection that would give me to my father. In 2010, Rock Nation did an Elton John tribute concert, and I had to learn all my dad’s keyboard parts which was one of the coolest things I’ve ever done in my life. Davey, John and Nigel all came and played with us too. Of course, actually playing with Elton John would be crazy.

Then we had The Episodes, an alternative rock band. To the occasion Matt Still produced two singles, “Never Stop" and "Jack's Hit" with good results. But since now an album it is not materialized. Any plans to go ahead with The Episodes?

That was awesome — working with Matt Still. He is genius behind the mixing board — a great producer. Those songs turned out great, and there’s one more he did with us that I will probably put out at some point. However, The Episodes broke up in September and it doesn’t seem there are many plans in the future with them. However, the band members and I still keep a close relationship. Especially Alex Arnaout and I — we are working all the time in the studio writing and recording songs.

How your music has evolved in the past 5 years? And how your growing up has inspired your music?

I think I’ve definitely matured in my songwriting and lyric-writing. But I’ve also allowed myself to become immature — with songs like “Never Stop” and “Jack’s Hit.” I’ve learned to have fun with my songs — not everything has to be so serious! I’ve also finally been able to collaborate with other songwriters, which was always hard for me in the past. I am constantly evolving, and I will continue to improve myself.

Now it's turn to introduce the wonderful Vickie Peek, from our group too: Do you have any specific goals that you want to achieve in your musical career within the next few years? 

No specific goals, really. As of now, my plan is to pursue an education in music (production, orchestration, business) and see where that takes me. I am also writing a lot, and a lot of those songs are getting recorded — so we’ll see! I’m also trying to produce music as well right now, which I’m having a lot of fun doing.

Very busy indeeed!!! I saw a picture of you in front a black piano, with the sentence "recording at Woodshed in Malibu", so what it came inmediatily in my head was: he is preparing something big... Anything you could share about those sessions?

Now THAT’S a cool studio! The Woodshed was an awesome experience. There I was actually recording piano on a few songs for the Sposato Brothers Band. They also had a cool celesta there, so I recorded that as well.

Is it important for you to tell stories with the songs?

Of course! When there’s no story, it’s just boring — in my opinion. I always try to keep my songs interesting.

And my last invited is from our group too. He's JonJon: What artists shaped or impacted you the most musically and why?

Well, of course Elton first. He was the first music I ever heard really and the first idol I could ever look up to. From there I was turned on to Ben Folds who really changed the way the way I played the piano and the way I wrote. I also like Jellyfish, Sting and The Police, Stevie Wonder, Thelonious Monk, and Herbie Hancock.

Which type of music are you listening today? What do you prefer?

Recently, interestingly enough, I’ve been listing to a lot of funk music! Can’t get enough of the FUNK! Also I’ve been listening to a ton of old Motown, classic soul and R&B too. As for new music, I really like Tame Impala, Kendrick Lamar and Flying Lotus.

Music industry changes so much today. Radio doesn't play rock songs so much, it seems all is very pop and dance. Digital age changes everything. It seems so difficult to move in this world and to get own products out. What's your experience? How do you manage to do that?

The music industry is crazy. But what I’m finding funny is that the “popular” music right now — the music you see performed on the Grammys and what-not (Niki Minaj, Iggy what’s-her-face, Miley, etc) — isn’t really . . . popular. People aren’t actually listening to that music, as far as I know. A lot of people listen to it as a joke, but none of it is really . . . respected. People right now are actually are listening to some of the best music, in my opinion. At least people my age right now have great taste in music — but none of it really goes “mainstream.” It seems that the mainstream artists that you see on TV all the time aren’t REALLY famous, they are just pushed so hard by the record labels. They are putting so much money into them, so much energy — of course they are gonna be in the spotlight. But nobody is actually listening to them. People right now are really into finding “hidden gems,” small independent bands that are making great music.

Are you going to see concerts, to see live shows? Which one you could recommend for its spectacularity? Some you haven't been and you thought you would love to be there (even in the past)?

All the time! I recently saw Snarky Puppy, an AMAZING fusion band that is getting a lot of attention right now. They played amazingly — the talent is incredible. Michael League, the bassist and the writer/arranger of most of the music, was up there playing so nonchalantly, while Cory Henry, one of the most amazing keyboardists right now, was up there looking like a god. One of the best concerts I have seen in a while. I also saw Ben Folds twice in the past year. The first time was at the Hollywood Bowl. He played with a huge orchestra and . . . well . . . it sucked. Obviously the music was great, he was great, the orchestra was great. But I hate the Hollywood Bowl. It’s so quiet . . . so boring. So later I saw him play at The Greek Theatre with yMusic. THAT was an amazing show. I wanted to see Sufjan Stevens but I couldn’t make it, and I wish I could have seen Sigur Ros but it didn’t work out. I love going to concerts all the time though!

Great!!! Apart from music, what other interests do you have now?

Nothing much, really. Everything I do has to do with music nowadays. All different parts of music — performing, recording, producing, writing. But pretty much doing music all the time. Of course I love to hang out with my friends all the time — and that’s what I like to do in my free time.

Now you have 18 years old. When you see world today, you could see a complicated panorama: refugees going up and down finding a prosperous future, wars on different countries, fanatic terrorism, ... in the other hand, progress with medecine, solidarism throughout the world fighting for causes, ... which degree of concern you have about global future?

I will try to do all I can to make the world a better place — either through music or other means.

Oh, how will you spend your birthday time?

I’m going to Disneyland!

Funny! Well, what have I forgotten to ask?

You’ve pretty much covered it all Miquel! Nice to talk to you again! Always a pleasure.

Hahaha we almost did. Thanks so much by heart for sharing your time in that special date. Hope you are enjoying so much for BDay. We will be following your music career as we are doing, we are pretty excited about your projects, and we wish you all the success you deserve: that's plenty success. Thanks for your kindness Ben. God Blessed You.

The New Episode Of Ben: The Interview

2014 has been a succesful year, full of new projects. The Ben Babylon Band were selected by Sonic Bids to play Sunset Sessions 2014. We could see tham opening for Marshall Tucker Band at the Canyon Club. Also working with producer Matt Still in the Studio on 4 new songs: first of them, "Never Stop" released free the past 03 September,  the official day of changing their band name to "The Episodes".  As you know, Ben released his new Single, "Burning Man", off his EP "Further Interpretations of Real life", and another single, "Contradiction", which features the Elton John Band. We invited Ben to chat a little about all these projects, and asking about all those things. So Ben, welcome again to your fan site, a joy to have you here. So let's start. Jack Rabbit, it's your turn.

Thanks, well, the BBB develop to The Episodes. You define this as an Alternative Rock band. Why the need of this development? What could The Episodes gives you that the BBB not did?

Yes, we are a high-energy, piano-based alternative rock band. We put ourselves in that genre because a lot of the bands that influence us are in that genre as well. The reason we changed our band name to The Episodes was to form a sense of unity, and also to introduce a new “start.” We are starting to branch out, listen to different genres, and also write very differently. Our songwriting process is beginning to develop and transform as well — both individually and collectively. We just sound different. You can definitely hear our Ben Babylon Band “roots", but we just sound different. We also wanted to institute a fresh and unique “image” that we just didn’t think the Ben Babylon Band could boast. To establish this image, we added Joshua Barish to the band. Now, you will never see Joshua on stage, but you will see his art. Soon we will unveil our new beautiful kick drum head. Joshua is going to be performing all of the art for The Episodes.

Art and music, good combination.  Amazing idea! And why the choosing of the name? What's the reason behind this?

That, I have to say, is a little bit of a mystery. Somebody just suggested it — I believe it was Alex. We all got together and started suggesting band names, and The Episodes just came up. I can’t tell you why we all liked it so much, but I think we realized it just fit. I think we liked the sort of double meaning behind the word “episode.” It could mean an episode as in a period of time or a show, or it could be a mental breakdown type of episode. I think it will prove to be a good band name in the future as well. I think we, as The Episodes, will have many “episodes” — or chapters. I think we will continue to develop, and I think the name really allows for us to branch out and try new things as our career develops with time.

Sure! Perfect! Influences from Ben Folds Five to Randy Newman, from Elton John to Radiohead, from Queen to Cage the Elephant... a wide range of styles. What do you pick from those different artists?

Yes, all of these artists are major influences on our music. Elton John has been an influence on our music from our beginnings as the Ben Babylon Band. But as we developed, we all began to listen to all different kinds of music. One of my favorite singers/songwriters/performers of all time is Freddie Mercury. I have listened to him, watched his performances (my favorite being Wembley ’86), and even researched him and his life. He is a major influence on me, and subsequently also an influence on the rest of the band. We all listen to different bands however, and fusing all of our influences together really creates, what we think, quite a unique sound.

Yes! Then could you present the members of the band? One of those members is Jacob Staben, the one you write: "What will he be playing, you ask? We don't really know to be honest . . . just a bunch of . . . things".

Alex Arnaout — Alex is the bassist of the band, and also sings background vocals.

Ben Babylon — That’s me. I am the lead singer and keyboardist.

Joshua Barish — Yes, we count him as a band member. He creates all of the artwork for The Episodes, and has creative input.

Jagger Krusen — Jagger is the drummer, and sings background vocals.

Brian Schwartz — Brian is the lead guitarist and occasionally sings background vocals.

Jacob Staben — Jacob plays all sorts of stuff! He will play rhythm guitar, keyboards, percussion, etc. Whatever the song calls for. He adds texture to the band.

Thanks! "Never Stop", mixed by the greatest Matt Still, is the brand first new single. This is the first step to release an entire album? I love the lines: "Look at all these people are they even here for me? Look at all these people — why don’t they shout, why don’t they scream?”.

Yes, that is our first single, available on Bandcamp for $1+ (https://theepisodesmusic.bandcamp.com/releases). Matt Still did an amazing job and we look forward to hopefully working with him again. He is amazing. We recorded four songs with him, and “Never Stop” is the first one we released. The second song, “Jack’s Hit” is actually available to download now when you sign up for our mailing list (https://www.facebook.com/theepisodesmusic/app_306495682738302). To answer your question about an album — yes! We are trying to complete an album right now. Unfortunately, making an album takes a lot of time and money, so it is a slow process. That’s why every dollar that comes from Bandcamp goes to funding our album. But we are definitely in the process, and we have high hopes for it!

Wow! People, we have to be there, we must be there. Next coming shows are in the making, I suppose. Anything to explain about this?

Our next show will be November 22nd at the Canyon Club, opening for Macy Gray. Tickets and more details are on Bandsintown (https://www.facebook.com/theepisodesmusic/app_123966167614127).

Which songs we could hear on your live performances? Something from the BBB days? New songs by The Episodes? Covers as you did by Fun or Ben Folds?

You will definitely here a few of our BBB songs, but reimagined. We will also have a lot of new songs that we have never played before. We will play a few covers, but a majority of the show will be original.

Finally, I would love you explain something bit about the experience on the Berklee School of Music. What does it means to you to be in one of the most priviledged schools of music?

My experience at Berklee School of Music was one of the coolest experiences in my life. I had so much fun, met so many talented people, and I learned so much. What I learned there is definitely being incorporated in my new songs — and I can’t wait to show them to everybody!

Thanks so much Ben for being here. Today it's your birthday, so me and Rabbit wish you a HAPPY HAPPY BIRTHDAY, wishing all the best this year and years in become. You are a genuine person and I wish you fullfill all your dreams because you deserve it. Next, we've got a few people, few fans, that would like to send their wishes to you. You are so much loved and you are the best. Thanks so much Ben, God Bless you.

Fans, we have the opportunity to help Ben and the boys to get funds for their coming album, so it could be a nice gift to download one of their tracks, for just  one dollar. So my suggestion, and I will, it's to help in there. Thanks.

Pictures courtesy of Ben Babylon

Times goes by

 Times goes by, very faster. It was a year ago I met Ben in person. It was one of the most memorable things I’ve ever lived. I saw a man that he lives for and of the music. Meanwhile, Ben has performed at such prestigious venues as House of Blues in Hollywood, The Canyon Club, The Mint, Whisky a Go Go, and the renowned Yoshi’s jazz club in Oakland, California. With an album in the making, with a good title, “Dreams for sale”, Ben kindly agreed to chat a bit with Jack Rabbit, some kind of a review of the year behind, and, of course, the brilliant future in front. So, Rabbit, it’s your turn. Thanks so much Ben, and always happy to be with you.

Well, first comes to mind is the club, the Canyon Club. It seems to be a magic place for BBB, you’ve been playing several times there. What has the club for you and what makes it different from the rest, in case you feel this?

Well, it really is a great place to play. The crew there is so great to the bands, and the sound there is phenomenal. Some of the best sound guys and sound systems are at the Canyon Club. It is really great to play at a place so professional. I’ve been opening for many bands this year, and it’s so great to have that exposure. The Canyon Club is one of my favorite places to play, that is for sure.

Precisely, you opened for some great bands this year, with a public enthusiasm and success, congratulations, Ben! As I was saying, it was Little River Band, Ambrosia, the group you referred as “one of the first bands I listened to as a kid,” and Air Supply, for example. What it was the experience to be on stage with them? Any anecdote to share?

It is such a great opportunity always to open for these kinds of bands. It is amazing exposure, and it is very fun. 

Playin’ live it’s the best way to run the band. How’s the band growin’?

We are really getting better and better every time we play. It’s really cool. You learn things every time you play. Playing live really makes you have on-the-spot decisions and on those decisions you really learn a lot.

Some covers were in your set. I love your cover of fun’s “We Are Young,” let me say. Pickin’ up the set list seems to be a difficult thing. How do you proceed? 

It is hard to expand the set list, especially with covers. Covers are tricky. You never want to play it exactly the same, because then you’re getting compared to the band that originally plays it, and there is usually no way to compare. You don’t want to play it too different, because then some people might think that we don’t like the original version and “want to make it better,” and it’s almost an insult. Have to hit right in the middle, and that is hard to do.

The collaboration with the girls, the country group JetSet Get Set. I particularly love them, so it seems to be a perfect mixture having you. But how it came up the idea to join them as a guest artist and will you tour with them?

It was a lot of fun playing with JetSet GetSet. They really are a great group of musicians. It was a cool experience to play with them, and I would definitely love to play with them next time they come to LA, but as far as we have talked, going on tour together has not been discussed. 

Ben, if we referred about opening for bands, next October you’ve got the chance to be with Leon Russell. What does it represents to you? Did you met him, when he was recording with Elton, right?

This is a great opportunity and I am really looking forward to it. It is going to be tons of fun, but it also is going to be very nerve-racking — for two reasons. One is that I’m opening for LEON RUSSELL. That is crazy. Leon Russell is one of the best pianist/singer/songwriters ever. The other reason is that I am playing solo. I will ONLY be playing piano (and maybe guitar on a few songs) and singing. No band. That is so different from what I am used to, and I really am going to have to put a lot of work into new arrangements for my songs specifically for that kind of performance. It will be fun though, and I am looking forward to playing this show and learning from it.

Las Vegas Elton Expo will find Ben Babylon playing his music to eltonites. How will you prepare this show? Have you thought about covering some of Elton’s tunes? Rabbit, maybe it’s to earlier to ask this………… excuse me, Ben 

I am SOOOO excited for this concert. It is one of my biggest gigs to date, and my first one out of state. This is crazy. We are going to prepare our asses off for this show. As for covering Elton’s tunes, I cannot say yet. 

Do you hear something about “The Diving Board” by Elton? Eltonites are so excited about the return to his classic music

I have heard some of the songs off The Diving Board, and it is really cool. Very piano-oriented, lots of keyboard pads in the background. Really cool. And even though it is sort of returning to his classic music, from the songs I’ve heard, it is also very different in some ways too. And it is produced in a way I’ve never heard Elton do before too, and it is really cool. Eltonites: you should be excited. 

Ben, you are currently working on your first album of original songs, "Dreams For Sale," in collaboration with several members of the Elton John Band: lead guitarist Davey Johnstone, drummer Nigel Olsson, cellist Martin Tillman, percussionist John Mahon and the unforgettable bass player Bob Birch. When is it expected to be released?

Dreams for Sale is definitely coming along well. We have made a lot of progress in the last few months. And yes, several members of the EJ Band will be playing on some songs, but the majority of my songs is me and my band members. All I can say about the expected release date, is that it will be unexpected . . . . . . . . if that makes sense . . . 

Have you penned some other new tunes for the album? “Different meanings” is sooooo good!!!

Thank you, sir! I am glad you enjoy it!

You said: "Humor is also important. If you're going through something hard, laughter can help you get through it” and remarked how humor is important in your writing. Is that so? For example, what’s “Dorky Loves Donuts” about?

Humor is very important, I will stick to that. I learned that first through the lyrics of the Ben Folds Five, and then other bands later. But humor really makes their songs relatable and enjoyable, but they still get a great message out. It is a really cool concept that I am trying to get hold of. “Dorky Loves Doughnuts” is not really funny song, (I mean unless you think it’s funny) but it is random, which could be funny, I guess. I was just bored and started writing “Dorky.” I wanted more of a instrumental type song where I could really jam and this was it.

“Contradiction”, the first single off the album, is the preview of the album, on iTunes now. I love this song, especially live. “Heaven and Hell sit side by side. Good and bad can't make up their minds, right and wrong can't understand, that peace and war battle again”. That’s strong! Life is a contradiction in his own, could it be? Oh, that was released in 2011. Would it be another recording of the song or another single is planned?

You can expect another single, but I can not guarantee it.

First it was “Goodbye Superman”, the Guy Babylon homage. Looking back now, that song grows more and more on me. It seems to be so hard to sing the song for you. Or maybe not, because although is touching it’s a nice reminder of one of our keyboard heroes. How do you feel about this song?

I do not play this song anymore, and (I’m sorry, but) it will be off of iTunes soon. This song is more of a personal song for me, and I think that’s all it should be. 

Do you have any upcoming shows, for sure?

Yes I do! You can look on my facebook page for all of them!

Regards to your band current members. The fantastic Brian, warm regards to him too. And the new bassist and drummer, best to them too. Something to say to the dreamers out there?

My new bassist, Chase Goldman, is amazing! It is lots of fun to play with him, and Jacob Staben, the new drummer, has such great ideas all the time. It is great to work with him. And of course, Brian Schwartz is my favorite guitarist in the band.

Finally, what type of music you are listening in the moment? Could you show me your iPod, in order to learn about your preferences, now? Rabbit!!!!

Oh god, way too much! I like Conor Oberst (of the Bright Eyes), Ben Folds Five, Slightly Stoopid, Dr. Dre produces great music, The Black Keys, Aaron Parks, Brad Mehldau, Mingus, City & Colour, Coldplay, Crack the Sky, Eliott Smith, Eminem, my friends False Puppet (PLEASE LOOK THEM UP!!!!), Foster the People, Foy Vance, Gorillaz, Hans Zimmer, Herbie Hancock, Jimi Hendrix, Kate Nash, Lily Allen, Macklemore & Ryan Lewis, Meekos & Me, Daft Punk, Outliar, Pink Floyd, Porcupine Tree, Radiohead, Sigur Rós, Sufjan Stevens . . . to name a few. It could go on and on.

Thanks so much, Ben, I wish you a happy summer, with a lot of gigs and continuing with your success. And you, dreamers, take a note of the following gigs, you don't have to miss them!

The Ben Babylon Band Concerts 2013

Fusion Music festival June 22

Malibu Art Festival July 28

Canyon Club, opening for Kenny Cetera August 9

Whiskey -Go-Go August 17

Elton John Expo, Vegas, Oct. 5 & 6

Opening for Leon Russell, Canyon Club Oct.18

Opening for Blood, Sweat & Tears, Dec. 13

More info on http://www.babylonmusic.biz/

Pictures courtesy of Ben Babylon Music