Bill Janovitz, Buffalo Tom

It's not too often that I get to trade lines of T.S. Eliot's "The Love Song of J. Alfred Prufrock" with anyone.  So when I had the chance to do that with Bill Janovitz of Buffalo Tom, I jumped, even though the lines we traded spoke of depressing topics like unrequited love and growing old.  Such is the mind of Janovitz, though, an introspective guy whose thoughtful lyrics demand as much attention as the music. Again, not surprising considering Janovitz references Goethe's novel The Sorrows of Young Werther in conversation.

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Chris Difford, Squeeze

When Chris Difford of Squeeze sits down to write a song, there's actually two Chris Diffords in the room: the one at the desk penning the lyrics, and the one on the couch in the corner telling the one at the desk how he feels.  It's those feelings that form the basis for Difford's songs; for him, the songwriting process is "cathartic. . .like keeping a diary."

There's not much I can say in this introduction about the songwriting duo of Difford and Glenn Tilbrook that hasn't been said somewhere else.  For over 35 years, they've adhered to the same routine: Difford writes the lyrics and Tilbrook writes the music.  The result has been some of the most well-crafted and memorable pop songs: "Tempted," "Cool for Cats," "Black Coffee in Bed," "Pulling Mussels from a Shell," "Is That Love," "Hourglass,". . . the list goes on.  They are certainly one of the most legendary (and I will also say strongest) songwriting duos in rock history. If you know music, there is no need for me to extol their excellence.  But if you need proof, there's this: Difford wrote the lyrics to "Tempted" in about two and a half minutes in the back of a cab.  And that first draft was the only draft: he didn't change a word from what he wrote in that back seat.

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Nicole Atkins

After high school, Nicole Atkins moved to North Carolina to study illustration in college.  This means, of course, that she has the mind not just of a songwriter but of a visual artist. This puts her at an advantage when it comes to songwriting.  As she explained to me, her creative process is a visual one.  For instance, she sees songs in colors: there's a lot of green songs on her new release Mondo Amore. And when she's in the middle of writing a song, she visualizes its landscape.  Actually, she doesn't just visualize it: she inhabits it, from gauging the temperature to feeling the ground. As you'll read in this interview, Atkins discussion of songwriting is at times interchangeable with her discussion of visual art.

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Ben Ottewell, Gomez

Ben Ottewell, vocalist and guitarist for Gomez, released his solo album Shapes and Shadows this month. It obviously offered Ottewell much more freedom in his creative process: as you'll read, everything went "a lot faster" since the buck stopped with him.  Read my interview with Ottewell about his songwriting process after the video.

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Teri Suarez, Le Butcherettes

Sure, it might be hard to discuss Teri Suarez (aka Teri Gender Bender) and her band Le Butcherettes without a mention of her performance art: the fake blood, the pig's head, the flour, the apron, all that lipstick, and the broom. But what's onstage is a package, and you have to appreciate the innerconnectedness of it all to realize that this is part theater (and I mean that in a positive way). But once you understand the extent of her creative endeavors, her performance is not that surprising: she writes music, poetry, fiction, you name it.  She's influenced by everyone from Henry Miller to bell hooks to Dostoevsky.   In Suarez's life, art is everywhere, whether she's taking it in or dishing it out. And that manifests itself in both the visual and aural aspect of her music.

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Walter Schreifels, Rival Schools

Pedals is the new release (out March 8) from the recently reformed post-hardcore supergroup Rival Schools.  It’s their first since the critically acclaimed United by Fate in 2001, and it shows that the band has not lost its knack for aggressive yet melodic music. Pedals is also a reflection of where the quartet are in life: it's filled with songs about shedding the bad elements in life and ushering in positive change.

I'm reviewing the album for the Washington Post next week, so I've been listening to it a lot. I recently spoke to singer/songwriter Walter Schreifels about his songwriting process, including how songwriting is like bowling

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Sherri DuPree-Bemis & Stacy King, Eisley

Last Friday I caught Eisley at the Rock n' Roll Hotel here in Washington, DC.  I'm a newcomer to their music, so after interviewing sisters and bandmembers Sherri DuPree-Bemis and Stacy DuPree-King, I wanted to check them out live.  Leading up to the show, what struck me about their music was its strong melodic element.  And live shows by a band whose lyrics I don't really know are a way to confirm this; the music just sounds good even though I may not be able to make out the lyrics. And that's what happened at the Eisley show that night.

What I heard Friday confirms what DuPree-Bemis and DuPree-King told me: that in the first stages of their songwriting process, melody comes naturally.  It's so effortless, in fact, that DuPree-Bemis even writes songs in her sleep, literally, as you'll read.  And according to DuPree-King, "The melody is a language in itself." Of course, it's not as if the four siblings and their cousin who make up the band are short on lyrical content: the band went through a professional divorce (from Warner Bros.) and a personal one as well (DuPree-Bemis divorced in 2007 before recently remarrying).

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Haroula Rose

It takes only about five minutes of talking to Haroula Rose to realize the extent of her creativity. Sure, she is a fantastic singer and songwriter.  But she's also involved in film making, is an active photographer, and voraciously consumes poetry.  All of these creative endeavors can't help but strengthen her already considerable talents as a songwriter.

Rose graduated from the University of Chicago, where she majored in English and received her Master of Arts in Teaching. After graduation, she worked in a Chicago music house producing jingles for radio and television. She spent almost two years there before driving out to Los Angeles to work at a production company, where she spent time on film sets.   After seven months in Los Angeles, she accepted a Fulbright scholarship to teach English and drama in Madrid.

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Bryan Giles, Red Fang

This site is woefully short on metal, which surprises me given that I grew up listening to the likes of Iron Maiden and Judas Priest.  My tastes have expanded, but I still love to revisit my roots (and play "Hallowed Be Thy Name" at ear-splitting levels).  Sadly, the only other metal interview on this site is with J.D. Cronise of The Sword.

A few weeks ago I was at the Red Palace here in DC.  Above the din of the bar, I heard a killer riff (you can always hear metal over crowd noise). I was mesmerized. I asked the bartender who the band was.  "Red Fang," she replied.  "They're from Portland, and they're awesome." And she's right.  So last week I talked with Bryan Giles, one of the songwriters and guitarists in the band.  He's in the passenger seat in the video below.  Their new album Murder the Mountains(Relapse Records) drops in April, so read my interview with Giles about his creative process, including how endless repetition is an integral part of his songwriting.

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Nick Reinhart, Tera Melos

There’s nothing like a big ol’ crustacean to get you in the songwriting mood. That’s right.  If you're a songwriter and need a creative nudge, you should try seeking inspiration in a nice lobster dinner. Because that’s what Nick Reinhart of Tera Melos did. At a restaurant.  With his parents.

What’s fascinating about Reinhart is that he never lacks for inspiration. He has, in his words, “a vat of inspiration” in his head.  When he mentioned that inspiration is everywhere for him, I couldn’t help but think that he talks like a poet, who sees wonderment in the most mundane of objects. So besides his crustacean-centric creative process, he gets inspired by going to Disneyland: Reinhart has an annual pass, and every time he returns home from a visit, he can’t wait to pick up his guitar.

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Joy Williams and John Paul White, The Civil Wars

One of the reasons why The Civil Wars work so well is the effortless collaboration between its two members, Joy Williams and John Paul White.  And it had better work well: they travel without a band, playing their music with just guitar and piano.  Plus two beautiful voices.

What I found most unique about their creative process is its genesis.  Most artists start with the music, and the words flow from that.  A few, but not many, start with the words.  The Civil Wars begin with both: when Williams and White get together (both are veteran songwriters and are not married to each other),  White "noodles" on the guitar as they talk about what's going on in each of their lives. It's that combination of noodling and conversation that leads to the ideas for their songs.  (Of course, I'd also argue that prolific output like this is due to their love of William Faulkner and Flannery OConnor, but that's another story.)

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Jesper Anderberg, The Sounds

How can I not promote a songwriter who reads Shakespeare to prepare to write for his band's latest album? That's what Jesper Anderberg, keyboardist and songwriter for The Sounds, did.  The band hails from Sweden, so English is not their native language. Anderberg read some Shakespeare, a man whose writing he admired for its lyrical quality; Midsummer Night's Dream was his favorite.  According to Anderberg, you can almost sing the lines from that play.

The Sounds' newest effort, Something to Die For, will be out the end of March on SideOneDummy Records.  It's the band's debut release for the label.  (photo credit: Markku Anttila)

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