NP: In my case, it has granted me some perspective on how a song should be arranged and produced. It also allows me to explore melody and chords beyond what I'd normally be able to do with guitar because I can visualize how all the other instruments can interact. I don't think that applies to all my songs because, the more dependent a song becomes on an idea of full instrumentation, the more of a challenge it becomes to perform it solo.

NP: I suppose I do it to fulfill a "vision". For example, sometimes a musical idea starts as a bass or rhythm line in my head and then I have to flesh it out with the "middle instruments" like guitar or keyboards. The result may appear as if I had come up with an interesting bass-line for the song when, in reality, I had actually come up with an interesting song for the bass-line. :) When it comes to working with a band, we use my demos or studio recordings as a starting point. If a particular instrument's line serves as the song's "signature", we'll keep it. The rest of the band usually has the freedom to interpret the rest of my parts as they please. Even if they're copying the lines from the recording, they still introduce fresh dynamics that sound awesome. The guys are always careful never to undermine the song itself.

NP: In hindsight, that was an impulsive decision to quit using electric guitar for solo shows. I was going through my songs one afternoon and I was no longer feeling the groove that I used to get - so I said, "fuck it" and went back to acoustic guitar. Having done that, I don't think there is a said "stigma". There are many artists like Leslie Feist and Martin Sexton who play solo with electric guitars (I got the idea from Mr. Sexton). I have even seen local artists like Sister Dorothy play solo-electric for many years. I really enjoyed being able to use effects and the "crunch" from the amp when I dug into the guitar. With the right artist, it can be really cool. I just don't feel like it right now.

NP: The continual success of homegrown talent is proof that Winnipeg is a great city for original musicians. Yet, when I compare my experiences here to what I've had in other cities, I have also wondered if I would enjoy more recognition elsewhere. I can't answer that question right now but I do have plans to find out.

NP: Thanks!! "Lying" is definitely more of a contemporary-pop song that wouldn't fit in with the Powers & Freqs of this town. It's a challenging line to walk but I have started to receive support from college stations - in particular, from Broose Tulloch at CKUW and Howard Mandshein at UMFM. I'm very grateful for that.

NP: A guilty pleasure of mine is Alice Cooper's "Trash" album - which was produced and co-written by Desmond Child. Their one power-ballad "Hell Is Living Without You" smokes anything Diane Warren's done with Céline Dion or Michael Bolton.

NP: No, I'm strictly by ear.

Although I'm no longer working in genres that suit the venue, my favourite stage has always been at The Albert. Since those days, I've also had some good times at the Regal Beagle downtown.

NP: It's not a priority when I sit at the mixing board but, as the popularity of portable MP3 players continues to rise, it is something I plan to explore further as I keep recording.

NP: I think I identify most with Lazy Smurf.

NP: Well... I'm working on my CD right now and hope to have it ready by late summer. I'll be doing lots of shows - both solo and with the band. I'm also writing for other artists, particularly in the urban/neo-soul genre. I think it's going to be a prolific year. Updates are at www.nealpinto.com or www.myspace.com/pintomusic