Call & Response: Ryan Leyva AKA Johnny Nails

(5 min)

When any kind of art becomes a job, the process can lose the magic and become… less magical, more mundane. Ryan Leyva AKA Johnny Nails has not lost an ounce of that magic. If anything, it’s only growing. After decades in the music industry, he exudes a joy and enthusiasm for music that can fan even the smallest creative spark into a flame.

The Seattle-based Guitar Slayer, producer, and mix engineer gives us an energized look at his early music flash points, how his career has brought him to new places, and how he continues to grow through community and collaboration.

He also gives some of our favorite responses to our usual Call & Response opening and closing questions.

Lab Notes (LN): If you had to boil your artistic journey into one sentence, what would it be? (Run-on sentences accepted and encouraged.)

Ryan Leyva: I touched the multi-layer prism of chaos, beauty, emotion, frequencies, freedom, and love when I was three-years-old and never turned four.

LN: We’d be remiss not to ask, how does one get an alias like Johnny Nails? Did the name choose you or did you choose the name?

RL: Oh man! Ha. It's not as "hard core" as it sounds, for sure. My friends nicknamed me that because I lived behind the nail salon on Rainier Ave S called "Johny's Nails". It just kind of stuck around, even though it was a bit of a joke. I actually just got a "Nails" tattoo - finally embraced it after 20 years. But if you know me you call me "Nails", "Nailsy", or Ryan.

LN: You’ve cited an instant love with your first Tascam 4-Track recorder as a key moment in your career “capturing sound” and “making noise.”

How do you describe those early recording memories and how do you channel that into your music today?

RL: My dad also plays music and let me use all of his stuff, like the Tascam. I would spend hours in the basement at his house playing along with records and recording myself along with it. Then I discovered plugging my delay pedal into a microphone. Whoa. Let's go! I quit sports and focused on music. I also recorded my first band ever in like 7th grade called "Blue News" (chokes on name) with such hits like “Chameleon” (Headhunters) and "Red House" (Hendrix). Pretty sure I have those tapes still. And I still play with a couple of those guys! But now I have 20 years professional experience doing it so my records (hopefully) sound a lot better. Glad I had the chance to experiment so much as a kid, it really shaped my creativity around sounds.

LN: The array of artists you’ve toured and collaborated with over the years is incredible, including American Idol stars, legends like Duff McKagan and Wynton Marsalis, and more. With that range, it makes sense that you keep this quote in big bold letters on your website: “Music has no boundaries and neither should your scope of learning it.”

Is this a sentiment that you’ve learned over time, was taught to you, were born with, or some combination? How does it guide the which projects/artists you choose to work with?

RL: Over time but early on! I'm super thankful for the Rooselvelt Jazz Band and Scott Brown for lighting the path to work ethic and education. I mean, some serious bad asses came out of that program that I still know to this day. Duff went to Roosevelt! And my friend Melissa Reese from the time I was there is now the keyboardist in GnR! Wild.

I never stop learning, listening, and trying to grow as an artist and producer. So, I work with everyone from all walks of life as long as they are decent humans that love music too.

LN: You recently worked on Grunge (ACPM-027) on our Analog Champion label. Living and working in Seattle, how did you approach this record so that it feels authentic to the spirit of the genre with so much history and connection to your city?

RL: First off - this was such a pleasure to work on. I grew up in Seattle in the 90's, learning guitar and playing along with Nirvana, Soundgarden, and Fastbacks! This music is in my DNA. I still love those bands and my city. If you ever need a full monty Seattle grunge hit, which I did while working on this record, come to my hood and visit Easy Street for breakfast and record shopping. It's rock n roll mecca and Eddie's probably at the counter having coffee.

I would spend hours in the basement at his house playing along with records and recording myself along with it. Then I discovered plugging my delay pedal into a microphone. Whoa. Let's go!

LN: Genuine mentorship and opportunities within the music industry are not always easy to come by, but through organizations like the Sonic Guild and a program that you’ve been involved with, More Music at The Moore, Seattle seems to be a city that takes action to develop musicians and provide community.

How has mentorship influenced your life as a musician and how have you seen the music scene in Seattle change over the years?

RL: More Music at The Moore, gave me almost 20 years of getting to work with the best people musicians, techs, and crews on the planet. Stepping onto a theater stage with some young artists for rehearsals where everyone comes from different walks, and using the safety of music to communicate and grow together as a community. Goosebumps! I love helping and inspiring people. It gives me energy, purpose, and love. It also made me a leader for projects. I can warmly disarm a crowd of young kids then I can warmly disarm the rock dudes who're getting a little out of hand.

The scene has gotten so much better. Mostly, we are aware of ourselves now on a larger scale so there isn't some weird division on the communities due to the genre or sex. There are way more opportunities for younger musicians...Like way more! Vera Project - shout out! But even School of Rock has a great program on every street corner here. Pretty great scene to be in. We may not have the biggest industry here for music, but we definitely have the coolest musicians.

Bonus - I was in the first More Music at The Moore ever with Macklemore playing in my band TriNation. Michael Shrieve was the director and I joined his band out of high school because of that show!

LN: As a Guitar Slayer, what is your first memory of a guitar and how do you understand your relationship with the instrument? What about the guitar makes it a unique translator of emotion and intention into music?

RL: My first memory is being on stage when I was 3 with my dad and his band. I had a yellow plastic toy guitar and it's all I ever wanted to do from that moment. My great grandfather was actually a traveling musician/guitarist in Mexico and the Southwest in the early 1900's. It's definitely in the blood. I've been with my instrument for so many years it's my deepest level of communication and therapy for myself. It's just safe - although sometimes I do hide behind it.

LN: We know you love to cook as a non-music activity in your life. Do you have a signature dish? Or is there a type of food that you love that you hope to master someday?

RL: Mexican food. I can rock some fresh salsas, tacos, and mole. I recently started making Indian food which has been a fun learning experience. My beef bourguignon ain't too bad either. If I could cook like an actual Italian I would win.

LN: What inspires you, what gives you hope?

RL: My kids and music. Everyday.

LN: What are three things about you that wouldn’t want left out of your Wikipedia page?

RL: What a question! He didn't suck at guitar. He wasn't a dick. Inspired others to be better.