Getting Into Music, Funk, and Early Influences

CC: How did you first get into music? Were you ever into pop, funk, or soul?
Phil: Absolutely—all of the above. I was born and raised in a household full of music. My parents were really young, and in the late ’60s, living in the French Quarter, the musical influences were thick.
CC: Do you remember any early funk artists you liked? Like The Gap Band or Rick James?
Phil: Oh, sure. “Super Freak”? You gotta love it—it’s a killer riff. But growing up in New Orleans, we had Dr. John, The Meters… real funk with that local flavor. I’ve seen The Meters jam a few times—they always throw down.

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Music Education and Singing in School

CC: Did you sing in church at all?
Phil: Nah, I wasn’t raised in the church. But my aunt was into theater and musicals—The Sound of Music, Wizard of Oz, Judy Garland… all that. I was raised in a house that loved the arts.
Later, I sang baritone in the school choir in 8th and 9th grade. My teacher took a specific interest in me—partly because I was a cut-up, but also because he thought I was the strongest baritone.

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The New Material: Songs of Darkness and Despair and Superjoint

CC: You’ve got a recent Superjoint album and this EP with Bill Moseley. Were they written close together?
Phil: In reality, the Superjoint record is about two years old, and the EP with Bill is over a year old. But yeah, those are the two releases out there, so let’s dissect them.
CC: Is there still a fire burning inside you to create?
Phil: I don’t think the fire ever went out. Whether I’m writing for myself or the public, I’m always creating music. It’s constant.
CC: Any favorite tracks off the new Superjoint?
Phil: Not really. It is what it is. With Superjoint, there’s always a mix—hardcore, some heavy metal, and that essential New Orleans groove. Having Steve Taylor in the band has added a refreshing element too. He’s low-key but super creative.

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On “Widder Woman” and California Culture

CC: What can you tell me about “Widder Woman”?
Phil: That’s Bill Moseley’s brainchild. He came up with that absurd lyric idea, and I built a ridiculous soundscape around it. We need more absurdity—in a good way.
CC: Are you familiar with E Clampus Vitus?
Phil: No, what’s that?
CC: It’s a fraternal California preservation group that dates back to the Gold Rush. The widows of miners are referred to as “Widders.”
Phil: That makes sense now—Bill’s a California guy. I’m sure he drew from personal experience. Trust me, I think he writes from what he knows.

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On Language, Dialects, and English Comedy

Phil: I like messing with language. Creating little words, playing with dialects. I love the English dialect—words like “quieten” that you don’t hear here in the U.S. And I’m a fan of British comedy. Everything from Benny Hill to The Comic Strip Presents.

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Horror, Sci-Fi, and A Serbian Film

CC: You’re a big horror guy. Are you into Hammer Films or sci-fi like Doctor Who?
Phil: You can say “Hammer Films” in 20 different languages, and I’d respond, “Correct, sir.” I’m not a huge Doctor Who guy, but I love original Star Trek. And I’m fascinated by how horror and sci-fi blend—films like The Thing, which is straight-up cosmic horror. That’s pure H.P. Lovecraft influence.
CC: Have you seen A Serbian Film?
Phil: I’ve avoided it. I know what it’s about, and honestly, I’m not into rape-revenge films. Movies like I Spit on Your Grave have cinematic value, but they don’t sit well with me. Give me haunted houses and vampires over that any day.

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Social Media and Personal Opinions

CC: What do you get out of social media?
Phil: BoxingRec.com for fight results, Rotoworld for football, and YouTube for boxing and random funny stuff. I don’t visit music sites unless someone sends me a link. Same with horror—I’ve got enough friends in the biz. If something important drops, I’ll hear about it.
CC: Do you mind when artists speak on politics?
Phil: It’s their right. No one should be thought-policed. I don’t like when people try to sway others just because they have a following—but I’m all about individuality. Don’t try to convert me. Stand on your own ground.

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Pantera, Recovery, and Living With Pain

CC: Is there any unreleased Pantera material left?
Phil: I found one track that never had vocals on it. I have no idea why we didn’t use it—probably because it didn’t do much. Pantera didn’t leave much unreleased. We used almost everything we came up with.
CC: You recently helped raise funds for Mike Williams’ liver transplant. How’s your liver holding up?
Phil: I haven’t had a drink since February 14, 2016. So that’s a plus.
CC: I read you had back surgery. How are you feeling?
Phil: It was a complex, non-invasive surgery. They built a titanium cage around my lower three discs. Recovery was tough. Four months after surgery, I started getting sciatic pain—burning down my leg. That’s something I’ll deal with forever. Stretching helps, but it’s a long road.

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Football, Loyalty, and the Saints

CC: Would you stay loyal to the Saints if they moved to Vegas?
Phil: Damn, I don’t know. Would they even be the New Orleans Saints anymore? That’d be tough. It’d feel weird—like the L.A. Chargers. Just doesn’t feel right.

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Final Thoughts

CC: Do you have any final thoughts for our readers?
Phil: This was one of the most pleasurable, different, and wonderful interviews I’ve done in a long time. Big props to you, sir, and a big thumbs-up to all your readers and followers. Thank you for having me.