PGH is all about helping artists highlight their most recent projects, so let us all know what your latest project is – and tell us about how it came into the world. What has the initial feedback on it been like?
Our latest album is Bad Penny Opera. It is a concept album that is a sort of tribute to the music we grew up on and to some extent commentary on the effect that music had on our generation. Truthfully, the response has been amazing for two reasons. It’s always gratifying to receive favourable reviews and high marks on “Best of” lists. But Bad Penny Opera’s storyline and the subject are a bit esoteric, so we were particularly pleased that so many of the reviewers caught on to what we were trying to express, particularly those in England.
The Recording Process: There are so many interesting ways that music projects come into the world these days compared with what artists had to struggle through years ago. Take us on the creative arc of how this project came into being and any wisdom that you learned along the way. Also, what were some of the obstacles or struggles that you encountered when you were working on the project?
We are very fortunate to have a full-on recording studio. So, we are able to make demos of new songs instantly and those demos often serve as templates for the final versions. Having said that, this album presented particular challenges. First, we moved our studio twice in the course of making this album. Second, most of the time I was working on my own, which tended to slow the process quite a bit. We parted ways with our original drummer. Aside from that, the album was a real labour of love and we tried to stay very true to the aesthetic. We mainly used vintage mic pre’s, mics, amps, guitars, basses, keyboards and effects. We weren’t fanatical about it, but there was a very heavy emphasis. Overall, it was probably the most complex album I’ve worked on, musically and technically. One of the most interesting examples was Bad Penny Overture. The song started with a complex bass and drum groove that was based on a riff from the second song on the album, By Your Leave. The drummer (Tommy Diehl) and I played that riff for five and a half minutes. I then put different instrumental parts from various songs on the album on different tracks and started bringing the faders up and down in order to create a structure. Ultimately I had to take a more deliberate approach to finish the piece off, but essentially it worked quite well. I did the solo in one completely improvised take, which was unique for me. We cut out about two measures of the solo and what is left is the Overture.
Are there any particular songs on this project that are special to you or communicate a message that you’d like to share here?
Of course, since we’re speaking of a concept album, there are messages and themes running through the album But, I think in personal or emotional terms the two songs that mean the most to me are probably Sunday Driving South and A True Heart Wears A Thorny Crown. Sunday Driving South is also the song that is probably the centrepiece of the album. It is a fantastical encapsulation of our heroine’s journey through the England of the mid-1960s. Deborah’s are A Better Place, as it was inspired by the suicide of a friend and To Love You Is A Crime, as it deals with self-acceptance.
As we all know, the music industry has been devastated for many reasons over the past 10 years. What are your thoughts on these changes and are you finding some of the changes helpful to you with getting more people to hear your music?
Under the old model, one had to assume that their music would never be heard unless a record label signed you, invested sufficient money in your project and to some extent successfully promoted it. Today artists have a much easier time recording their music decently for less than the Gross National Product of Chile, but the challenge is still to be heard with so many more entries in the race. I don’t have any sweeping answers, but we have made a point of being somewhat high concept in some ways. That is to say, we want our potential audience to be able to get who we are and what we do at a glance or a quick listen, but we don’t want to limit our creative options to being a parody or collection of 1960s clichés. From the comments we’ve received at shows and in reviews it is clear to me that we are on the right track. People get us and they acknowledge our influences, but they very frequently say we sound “fresh”. Our theory is that if we do good work that doesn’t confuse the audience, then we’ll eventually make our mark with those who have similar values.
Along the lines of this discussion, it would be really interesting to get your thoughts on what you think the future of ‘music enjoyment’ will look like in the coming years? How do you personally enjoy and ‘consume’ music? Any trends you’ve noticed with your own habits compared to, say, 10 years ago?
I have to admit that I am not the avid record buyer and listener that I once was. I spend a lot of time working on The Cherry Bluestorms, Deborah’s solo material and my other studio clients. So, I don’t keep up as well. When I do hear new music, I find that much of it falls flat for me. Few that I’ve heard have the creativity and musicality of the bands we love from the ‘60s through the ‘90s, such as Super Furry Animals, Supergrass, XTC, The Skids, The Charlatans, The Small Faces, The Beatles, The Buffalo Springfield, Be Bop Deluxe, The Church, Peter Gabriel’s Genesis, Fairport Convention, etc., etc. Unfortunately, the “current model” of the industry discourages quality and innovation. It takes an unbelievable amount of dedication to try to keep the bar as high as possible, especially in a market that is so unremunerative. Music does not seem to be a central component of young people’s identity in the way it was when we were growing up. I hope that can change.
We would love to hear what your plans are with your next project – Are you going to a full CD, an EP or just release songs as you finish them? Release them digital only or combine physical with the digital or what?
Our next release will be our first vinyl. It will be a 7” picture sleeve called See No Evil. We plan to launch our first Kickstarter campaign for that. We have nearly all of our next album written and demo’d as well. I think we will probably release it on vinyl, CD and downloadable formats. We’ll probably experiment with releasing individual songs ahead of the album as well. We didn’t want to do that with Transit of Venus or Bad Penny Opera, because part of the whole point was to bring people back to the excitement of what a new album by one of your favourite bands was. Our next album won’t be a concept album, so releasing individual songs won’t offend any sensibilities.
What are you finding that is working well for your music right now that others may find interesting to hear about?
I have to return to the idea of keeping your message high concept, even if the music is eclectic. We have found other bands more or less on our same page when we play festivals, through Facebook or other ways. Then, we try to play shows with them. Some of those bands have shared contacts with us and we’ve got airplay and out-of-town gigs that way. Recently we were special guests of Rain Parade in Berkeley. That never would have happened if we hadn’t networked with other bands and fans who are into similar music.
Okay – time for some light humor! Spinal Tap Moment: dig deep. Locate. Relive. Share that special ‘trauma’ with all of us!
We played some dates in England in 2012. Deborah injured her back somehow just before we got on the jet. I contracted Bell’s Palsy a few days before we left. So, the left side of my face was paralysed. We persevered and played some shows in the North with only one trip to the Royal Hospital for Deborah. We made our way to London and hired a flat for the band and some family. When we came back from playing the Bull & Gate, one of our party was in the flat, but she couldn’t figure out how to open the door! So, there we were, standing in the street for two hours with our gear, fighting off an incredibly drunk Frenchwoman and not being able to get in. Finally, a neighbor was able to get us in through the back door!
Is there a particular musician(s) you’d love to collaborate with – and why?
There are probably lots. There are so many musicians and producers I admire it would be hard to know where to stop. But, until you actually try it you don’t know what the chemistry or the process would look like. I’d love to collaborate with Steve Kilbey of The Church, or Andy Bell of Beady Eye. Kilbey has collaborated with quite a few people and he seems to have no end of ideas. Andy Bell seems to have similar influences and it seems like it would be fun to play guitars with him. I’m a huge Charlatans fan and it would be great to hear Tim Burgess singing something I wrote or co-wrote. I had him in mind when I wrote A True Heart Wears A Thorny Crown. I’d also like to collaborate with someone more into sampling and rave sort of grooves, like Chemical Brothers.
Advance apologies: the so-called ‘classic’ questions. What other artists and bands have influenced your music and any particular reason why? Also, push come to shove: “Your Top 5 Albums Of All Time”? (Pop Geeks really are interested in this, trust us!)
Aside from the classic British Pop bands of the 1960s, I’ve already mentioned a few. The Church, The Stone Roses, The Charlatans and Oasis all significantly influenced me and The Cherry Bluestorms, though we were well into making music before that. I think they were all bands who just made great music of the kind we were trying to make. The Charlatans in particular influenced me because of all the different elements they bring to bear, including featuring Hammond organ.
As for Top 5 Albums Of All Time, that’s pretty difficult, not to say dangerous, but I’ll try:
The Lamb Lies Down On Broadway (Genesis)
Kink Kronikles (The Kinks)
Tellin’ Stories (The Charlatans)
Revolver (or any other album by The Beatles)
Futurama (Be Bop Deluxe)
These are subject to change!! My apologies to The Stone Roses, Oasis, Motown and too many deserving others! Deborah’s and Mark’s lists would no doubt look quite different!
We’re always trying to find new music discoveries here at PGH. What are some of your favorite music releases of the last few years?
I’ve been listening to older stuff for awhile, so I’ll have to get back to you on that one.
Okay, last question: Where can we hear more of your music and any other releases you have?
Deborah’s solo album, Portal, The Cherry Bluestorms’ debut and Bad Penny Opera are available at our website, www.thecherrybluestorms.com, CDBaby.com, Amazon.com and iTunes. If you sign up on our email list at our website, you will get a free download of an alternate version of Fear of Gravity featuring Ron Wagner of Cirque du Soleil on tabla. . We will soon have the See No Evil single available and should have the next Deborah Gee and Cherry Bluestorms albums out by this time next year. You can also listen on Bandcamp, Soundcloud and ReverbNation
