Quick Q and A with David Wilcox
 by Kathy S-B  ·  11 March 2013

David Wilcox has been called a songwriter’s songwriter. That may be true but I firmly believe that he’s much more than that. He’s everyone’s songwriter. I’ve never written a song in my life and I’ve discovered that the combination of simple words and wonderful melodies that David sings are magical. The ease with which he presents his music to his audience is elegant. When you see him in concert, it’s as though he is a master chef who has prepared a banquet of luscious food and one by one, piece by piece, he offers you a taste. But these tastes are invitations into his soul and they’re all put into some of the nicest music you’ll ever want to hear.

If someone asked you to describe your music in one sentence, what would you say?

My music is my way of feeling more alive. My songs give me back my vision and my heart and hold me accountable to the best glimpses of adventurous life.

One thing that is very unique about your website is that you have actually compiled your songs into a topical “table of contents” in which you list the songs that have to do with actual human emotions: falling in love, getting through tough times, dealing the with the loss of a loved one, and other such keystone events in one’s life. You call it “musical medicine.” I like the notion of a musician as a doctor so what you’ve got here are your own personal prescriptions to help your listeners through the day. Have you had fans relate stories to you about how your music has helped them? Can you recall any interesting tales in this regard?

There are songs of mine that saved people’s lives. I mean literally. It’s happened many times that people have told me they have been ready to commit suicide and then heard one of my songs that cut through the darkness and changed their mind.

There are other examples of songs that have helped people decide to be courageous and take a job they were guided to, or to leave a relationship that they knew was wrong, or to set out on some adventure that required some boldness. I love how the right song at the right time can be a catalyst for change.

Your first CD was released in 1987. How have things changed and stayed the same in the recording process since then?

A couple records back, I made an analog recording again. Big 2 inch 16 track Studer machine in a gorgeous studio in California. But, other than that, I have been recording digitally ever since it was available. I love how technology has empowered musicians to be able to learn the tools to bring the sound that we hear in our hearts and minds out to people more easily.

In my home studio I have everything on one switch. I turn on the computer and then click one power strip that powers up all the preamps and Mics and compressors and I’m ready to record in five minutes.

You’ve said that playing the guitar is a portal into your own personal bliss. Did you know the moment you picked up the guitar that it would become so important to your livelihood?

I knew right away that guitar made me feel more alive. The surprise was that I could make my living from it. This kind of music was not very popular when I fell in love with it, and it seemed revolutionary to not just buy the pre-packaged music from the industry and the big labels, but to take it back into my own hands and sing the songs that kept me sane.

You have a very special connection to your fans. Tell us a bit about the Wilcox Weekend. How did it come about? How long have you been doing it?

Part of what this music is for is finding my tribe. When you reveal your true heart and not just some constructed personae then the music introduces you to the people who like you for who you really are. It’s fun to celebrate the fact that music makes friends long-distance. I’ve done cruises and weekend gatherings near where I live, but next week I’m meeting with 30 fans in Mexico at a beautiful hacienda for a week of music and conversation and workshops, hiking, horseback riding and great food.

I understand that you have your own studio at your home in Asheville. Has the proximity and availability of a studio changed your mindset about how and when to release new music?

The biggest difference with the new recording technology is that you can skip the lag time. It used to be that after you’d finished a recording it took months for the graphics and distribution until you could get some feedback and hear from people how the songs move them. Now, once a song is as good as you want it to sound, you uploaded it, send out an email notice, and within 15 minutes you’re hearing feedback from people who have already listened to your new song.

Do you do most of your songwriting at home or on the road? Do you have a regular writing routine?

I do have a regular writing routine. I like the early morning. Usually 4:30 AM until about nine or 10. I get a lot of ideas while I’m traveling but I tend to finish songs when I’m at home.

Here’s David singing one of his finest songs.

Quick Q and A with Connor Garvey
 by Kathy S-B  ·  11 March 2013

Connor Garvey continues to surprise me. That’s a good thing. A very good thing. There is no chance that his shows will be repetitive or suffer in a dull sameness. Connor’s got the spark: a creative spark that literally shines all around him when he’s on stage. His recordings are equally charming. He has a way of turning a phrase or skewing a song scenario so that it makes the listener take note. That’s a real talent.

Let’s get the obligatory question out of the way: When did you first pick up a guitar?

I first picked up guitar in 7th grade. My dad is a musician and had guitars around the house but I started off as a drummer. My best friend and I were both drummers and used to spend hours blasting Smashing Pumpkins, They Might Be Giants, and REM and beating on the drums. Eventually we realized that if one of us picked up guitar we could form our own band . . . so since I had a guitar to learn on I picked it up. Plus, he was a much better drummer then I was! We formed a band called Electric Haz?ard (yes the ? is supposed to be there) and were together through graduating high school! He and the bass player are still in a successfully gigging band Super Frog.

Your style is pretty funky and not your typical strum, strum, pick style, if you know what I mean. Who or what inspired you to play the way you do?

We are all products of inspirations and interesting decisions. I have always loved acoustic music in the folk tradition but have also loved soul, funk, rock, and hip-hop. In college I formed a funk band called Officer Funk and those shows were some of the most fun I’ve ever had with music even to this day. There is freedom in a groove and we tapped into it! I still have groove in my core and am drawn to writing and performing songs that tap into who I am not just what I think people are used to hearing.

What kind of music did you listen to when you were growing up? When did you seriously start thinking about music as a career?

I grew up listening to many types of music but singer songwriters like David Wilcox, John Gorka, Shawn Colvin, Catie Curtis and many others formed a glue that held all of my early musical memories together. I continue to pinch myself that I now get to play with these people. My father is also a great musician and was a part of a local group of musicians in Southern Maine and New Hampshire called Salmon Falls Friends of Music who continue to inspire me.

For better or worse I was always serious about my music. I recorded an album with my band and a solo album before I graduated high school and actively sought out opportunities to play and grow through TV, Radio, and live stage. I have always enjoyed sharing my music with the world and feel that through sharing it it validates my need to get it out. I slowly gained my chops through my school days and early days after and in 2008 I decided to give in whole-heartedly and pursue a career in music. The tipping points were very important. I was working at an outdoor education center doing amazing and inspiring work (work I still try to stay connected to) and at that job we were provided a life coach. Through our conversations I became aware of my need to get my music out there and looked for access points to enter the world through.

On a whim I emailed Catie Curtis (whom I have social circle overlap with) and asked her if I could take her out to coffee and pick her brain about life as a touring singer-songwriter and see if that would help steer my decision-making. She said yes AND offered up an alternative option to join her on the road for a three day run of shows as her merchandise man and general helper. I was blown away and took her up on the option. Long hours in the car, introductions to other great musicians, and insight into her life all led me to know this was a path I wanted to walk on and I am, to this day, extremely appreciative of that opportunity. I also learned a lot about the logistics of touring when I was partially responsible for Meg Hutchinson’s car getting towed and I picked up a parking ticket on Catie’s car that I was 100% responsible and paid it before she saw it. . . . I don’t think she knows about that. . . .

Kindhearted people continually affirm me in this path and for that I am fulfilled!

Your story-based songs like “Pencil Frame” and “The Bird” really seem to resonate with your audiences. The characters in your songs live and breathe for us. Have you ever considered writing fiction as well as songs?

Well I have now! I suppose I have thought about writing fiction though it would be a leap into the unknown . . . but that’s exactly what the song “The Bird” is trying to tell us, so I suppose maybe I should try my hat at it!

Tell us about the recognition that you got being on XM’s “The Coffeehouse.” Did that exposure increase your fan base across the country exponentially?

One of the producers at XM’s The Village heard 1 minute of one of my songs at a music conference and suggested I send it in to The Coffeehouse. Months later the song was on heavy rotation spinning some 5–6 times a day for 6 months. I garnered a spot in their top 6 new singer songwriters of 2010 and came in to their NYC studio for a live in-studio performance on the same day as Adele, Florence and the Machine, Slash, and Ace of Base! It was all a bit of a whirlwind and I had people connecting to my music around the country. Beyond the very beneficial boost in sales and royalties the exposure blasted open a large base of fans and connections that have lead to shows, songwriting workshop teaching, and continued support. Truly it was an awesome swing of time that continues to shine light on my career now. I sure do hope for another blast like that!

I was totally blown away by your live looping at the recent Club Passim show. Have you been using a looper (or is there a more accurate or technical term) long? Do you do many songs with it?

I’ve been using a loop station for a little while. I try to use it for moments of grandeur and break from the norm . . . it can be very dangerous to over-use. There are some extremely talented loopers out there who use it as an amazing instrument and form of expression . . . I suppose I use it as a window into more depth of what I enjoy about performing music!

I’d like to hear more about the new CD that you’ll be recording this year!

I have just launched a kickstarter campaign geared at raising awareness and funds for the album and would love to steer folks towards that! I am launching into a double disc album with one disc being a studio album recorded in Portland, ME with much of the same crew as Where Ocean Meets Land (2011) and the other disc being the same songs recorded at a house concert in Bozeman, MT with much of the same crew as Constancy of Stars (2009). This, to me, seems like an awesome way to capture two sides of who I am, how songs exists in the world, and people whom I love sharing music with. I am absolutely in love with a bunch of these songs and can’t wait to capture these tunes on disc!

Kickstarter link: http://www.kickstarter.com/projects/1987587718/connor-garveys-new-double-disc-album-project

To learn more about Connor, visit his website.

Here’s a look at Connor in concert.

Quick Q and A with Tracy Grammer
 by Kathy S-B  ·  23 February 2013

One rarely hears the name Tracy Grammer without hearing the name Dave Carter in the next nano-second. In this interview, Tracy relates how entwined her life has been with Dave’s during his lifetime and after his death. It was her “mission” to introduce the world to Dave’s music and to help cement its legacy. It’s been over ten years since Dave passed away and Tracy confesses that she’s not sure what her next mission should be, but it has to be about her, and not Dave. And I say . . . more power to Tracy and wish her the best as she discovers what she wants to do next.

Tracy said to me: “I hope you like a good, frank interview.” My yes. . . . this is frank and she tells it like it is.

The life of a touring musician can be grueling. How do you usually spend your time traveling from gig to gig (other than keeping your eyes on the road)?

Morning is for coffee and journaling. Some­times I find a YMCA and get a quick workout. Then I hit the road. I like to be on the highway by 11 a.m. if possible.

In the car, I do nothing. Well — maybe I eat an apple or some carrot sticks. Mostly I just unravel there. I don’t turn on the radio. I let my eyes rest on whatever horizons. I drive in silence, and I drive fast. I enjoy that silence immensely and miss my mid-summer cross-country jaunts most of all. I’d do a thousand miles a day sometimes. It’s terrible for the body but it is good, good, good for quieting the mind.

You’ve toured the country for many years now. Can you recall some of your most memorable appearances? I’m sure that some were epic and some more intimate. We are interested in hearing about both kinds.

I showed up at a place in Iowa City, a real shithole if I may say so — dark, dank, and subterranean, with a dance studio above. No one was there but me and the bartender. I called my best friend in California and told her nobody came to my gig and she thought I was kidding. We laughed so hard. Someone finally showed, and she wrote songs so we traded my guitar back and forth until more people showed. Turned out there was an error in the start time listed in the newspaper. At the height of my little gig I had about 7 people listening, and while that might sound challenging, it’s always the quality of the listener that determines how the gig feels, not the quantity. I had a stellar crowd. It turned out fine.

As for stellar gigs, I have been blessed. For every Iowa City there were 100 places I have loved. Last year’s tribute at Falcon Ridge was special. Singing with Joan Baez will always be a life highlight, and I got to do that for a few months running. Japan with Miyuki Kahler and Maeta Hiroki is my favorite overseas memory. We made fine music and had the best time.

Your name will be forever tied to Dave Carter’s. Your time together was a magical time for us as music fans. It’s as though your fate was written in stone the moment you met him back in Portland back in the day. Having never experience that kind of life-changing event, can you even adequately explain what your heart and mind told you that momentous night?

I got a mission. I felt chosen. I have always trusted my intuition and my future rang out over the course of lifetimes, to the stars and back like a frickin bell when I first heard him sing. I knew he was great and I suspected I could help him become better known and so I got to work and did my part to make that happen.

This clarity of vision and singularity of purpose has been a blessing and a curse. Everyone knows I love Dave Carter’s music and have devoted my entire career to promoting his good name and his stellar work. But I have been both filled and obliterated by the process of carrying all of this forward. I was made and undone by my work. Love has been difficult for me because of my tie to Dave Carter. And I have certain forever-regrets, like never having children, and never returning to school.

I did what I felt I needed to do and most of the time it seemed bigger than me. I fought with it sometimes and sometimes I wrapped it around me like Love itself. I made certain promises and feel like I fulfilled them. But now I have no idea what to do musically, because the whole reason I was here was to tell you all about Dave Carter. It was never about me.

I have to admit that the 10th anniversary tribute to Dave at Falcon Ridge last July was one of the highlights of my year. Having all those wonderful musicians contributing their interpretations of Dave’s song along with you and your band adding complementary harmonies and instrumentation was not only a wonderful showcase but dare say it, a spiritual experience. What were the thoughts running through your head that night?

I was proud of myself and overjoyed at the caliber of the musicians who decided to be a part of this. I will never forget how lovingly they rendered the songs. This was the crowning achievement of my 10 years of legacy work. This was the moment when it wasn’t just me singing those great songs, but all of us. That’s when you know a legacy has legs; when the whole hillside sings along. At some point a girl needs to lay a mantle down and find herself again. I believe that moment is now.

Let me hit the wayback machine button and ask you about your introduction to the world of acoustic / folk music. Did you hear it growing up or were you classically trained?

In the Plymouth Duster as we tooled around town it was Jim Ed Brown, John Denver, Mac Davis, Willie Nelson, Neil Diamond, Oak Ridge Boys, Statler Brothers, Olivia Newton-John, Charley Pride, I’m trying to remember all the 8-track covers (!) … But I started playing in orchestras at the age of 9 and so I grew up on classical and considered that my “serious” music. I sang “Macarthur Park” and “You Light Up My Life” and “Tainted Love” into hairbrushes, worked my way through my mom’s Beach Boys and Jan & Dean 45s, and tuned in faithfully to Casey Kasem’s American Top 40 so I could hear the Long Distance Dedication. I did not listen to Baez or Dylan, only knew “Puff the Magic Dragon” because my dad brought his guitar to school and played it for my elementary school class, and never went to a festival. I am an accidental tourist in the world that is now my working home.

Here’s a link to a stunning song called “Shadows of Evangeline“ by Tracy.

Dave and Tracy performing “Cowboy Singer“ from 2001

And here’s a link to the Dave Carter Tribute at Falcon Ridge Folk Festival, 2012.

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