Editor’s Note: This story was originally published on defunct, Central Indiana arts website Sky Blue Window on October 27, 2014. Content, formatting and style changes may differ from the original version.
For the third installment of Indy Film Fest’s Rock + Reel series featuring movies about music at White Rabbit Cabaret, attendees will be treated to Frank, a dark but hilarious comedy from Irish director Lenny Abrahamson. The film stars Michael Fassbender (12 Years A Slave, Inglorious Basterds) as Frank — the masked lead singer of a struggling experimental pop band of misfits. The movie picks up steam when Jon Burroughs, played by Dohmnall Gleeson, fills in on keyboard and subsequently joins the band for the recording of its next album.
Over the course of the recording, Burroughs is forced to endure all of the pitfalls of life as the newest band member. Despite the film’s comedic surface, Abrahamson achieves an authentic portrayal of the political infighting and absurdity that comes part and parcel with any tight-knit rock band. It helps there isn’t a poor performance in the bunch, with Maggie Gyllenhaal threatening to steal the show as the manipulative synth player Clara. Frank culminates in a chaotic voyage to SXSW filled with misadventures that are not to be missed.
Prior to the screening, viewers will be treated to a solo performance from Bloomington’s Kenny Childers. As front man to Gentleman Caller, member of The Mysteries of Life, Old Flames and songwriting partner to Lily & Madeleine, Childers is, without a doubt, one of the premier songsmiths this state has produced in the past 20 years. He also happens to be a huge fan of Frank. Despite the fact that he rarely plays solo sets these days, Childers leapt at the opportunity to play alongside the screening. Below, listen to a playlist of Childers’ classics from the Musical Family Tree archive and read a short interview with him. Grab tickets to the Oct. 30 screening of Frank via Eventbrite, and don’t wait too long. Given the rarity of a Childers’ live performance and the strength of this film, those tickets won’t be around for long.
A selection of Kenny Childers songs from Musical Family Tree:
Sky Blue Window: The last time I saw you play was a Gentleman Caller show in Broad Ripple Park as part of MFT’s Listen Local series. Are you playing solo or as Gentleman Caller much these days?
Kenny Childers: Almost never. I may have played one show since Broad Ripple Park. Playing hard gets tougher and tougher for me. I just don’t care for it much and get really uncomfortable and anxious for days beforehand. I’ve also been busier with other aspects of music that are more rewarding for me, like writing, cowriting and recording. I take monthly trips to Nashville these days to write with other artists, and that takes up enough of my time, along with recording projects.
SBW: What made you hop on this Indy Film Fest gig?
KC: This was a different thing for me. I am a huge movie nerd (though I’ve got nothing on Richard Edwards). I watched this movie when it became available online and then immediately watched it again. I just adored it. Hit home like nobody’s business.
SBW: When watching the movie, did you ever dream you might be able to play alongside Frank’s band “Soronprfbs?”
KC: I did not! I did, however, have a lot of fantasies about being in the band.
SBW: Despite the ridiculousness in Frank , I thought there were some elements, particularly the relationships between the band’s members, that rang true. As a longtime musician, what parts of the film rang true for you?
KC: Oh, soooo much rang true, especially the ridiculousness. Being in a band is pretty ridiculous. It addressed the particular kind of collective madness that creeps into projects, when you are inside them. It’s what infuriates me regarding the concept of a “music critic” and why I try not to read too many reviews of projects I really care about. Very few people know how emotionally difficult it can be, or how crazy you can go making these things. It’s giving birth. When I read some half-assed, poorly written lukewarm review of something I’ve been involved in, I remember Richard Edwards curled up into a painful ball on the couch with his sock hat over his face, or Madeleine wringing her hands, squinting and working so hard to get the things they feel to their core to come out.
The other concept that really got me was the intersection of music and mental illness. As a person who kind of lives at that intersection, I think the movie does a great job of exploring that. Does one make the other better or worse? While Frank’s giant fiberglass head seems silly on the surface, I immediately thought “what a great idea!” As a person who has some real anxiety issues, wearing a giant mask you never take off seems like kind of a good idea. Wish I’d thought of it. But I suppose we all wear a mask of some sort. Who wants to truly be known?
SBW: What do you have planned for the set at White Rabbit?
KC: A lot of new songs, a lot of which are more naked lyrically than I have typically been known to write. A lot of new spiritual crisis songs I guess!
SBW: Have you ever played SXSW? If so, talk a bit about that experience.
KC: Yeah a few times, but before it has become the gross industry schlock fest it seems to be these days. I mean, I got to see Richard Buckner play in a little ballroom, half full. Wayne Coyne did a performance art, fan-interactive experiment in a parking garage. It was more a festival of fans then, and was so much fun. Now it’s become more like a showcase series for insiders. I’m sure it still has value, obviously, but doesn’t much appeal to me as a fan or musician any longer, not that they are knocking on my door asking me to play it!
SBW: In some ways, Frank is a caricature of the gimmicks required to get noticed as a musician these days. Have you ever been reduced to sporting a costume or other similar gimmicks?
KC: No, but not because I’m above it. If I could do it in an artistically fulfilling way, Ziggy Stardust-style, I totally would, but conceptual presentation ain’t my long suit. But I want to note that I see Frank as more than that — it looks like a gimmick, but it’s actually protecting something very real, and masking some real damage. Like I said, his giant fiberglass head didn’t strike me as ridiculous at all. It reminds me of when LonPaul [Ellrich] used to show up at the studio wearing a wig, and became genuinely upset when someone mentioned or giggled at it. He just felt like being someone else that day, was the way he saw it.
SBW: You have a role with Lily & Madeleine, a band who caught a relatively big buzz early. Talk a bit about that experience.
KC: It’s been tremendous for me. They are lovely people to work with and have an incredibly supportive family. That’s so rare, and I feel lucky to help them realize their songwriting potential. We’ve been working together since they really became serious about this two and a half years ago, and their growth into brave young women with a really genuine artistic drive has been beautiful to watch. It’s also lead me to an ever increasing cowriting career with other folks around the country, which is something I’ve come to realize I’m pretty good at. They’ve helped me so much, and hopefully I’ve helped them too.
SBW: Are you touring with Lily & Madeleine in support of their new LP?
KC: Not at this point.
SBW: A lot of Jon’s character in Frank deals with being the new guy in a band and figuring out where you fit in the group’s dynamic. Talk about a time in your career when you were the new guy.
KC: Hmm…, that’s been quite a long time ago. Probably the last time I joined an established band as the new guy was The Mysteries of Life, and I wasn’t alone — LonPaul joined at the same time. It wasn’t scary like it was in Jon’s case. Jake, Freda and Geraldine were such normal-seeming, polite sweethearts. With LP and I joining, it was probably more like if Frank and Clara had been the new guys in Jon’s band.
SBW: Anything to add?
KC: Nothing much, just sooooo looking forward to seeing this movie on a screen with some friends after going on and on about it for over a month!
Written by Rob Peoni
Editor’s Note: This story was originally published on defunct, Central Indiana arts website Sky Blue Window on May 15, 2015. Some formatting, content and style changes differ from the original version.
St. Louis songwriter and Illinois native Pokey LaFarge will take the stage at The Vogue Saturday to promote his latest album Something in the Water. With seven albums under his belt, the gifted musician, born as Andrew Heissler, has established a loyal following through his ability to amble admirably across the landscape of early American music: ragtime, jazz, pre-war blues, traditional country and more.
As LaFarge crosses genres and timeframes with ease, his old-timey sound and lyrics remain rooted in the Midwest. “My Hoosier girl so fine / shake the watermelon off the vine / She’ll blow you a fist / blow you a kiss / and you’ll thank her every time,” LaFarge sings on the title track of his new record.
We caught up with him on the phone this week ahead of his show to talk about his influences, which include Indy blues greats Leroy Carr and Scrapper Blackwell, his new album and his plans for the future. Watch the video for Something in the Water and then grab tickets to tomorrow night’s show via The Vogue.
SBW: Your music contains such a patchwork of influences from all of America. You have traveled extensively. Yet you’re a Midwestern guy. Can you talk about any sense of place in your songs that’s more specific than America itself?
Pokey LaFarge: Well, I don’t know if you heard the last track [Knocking the Dust off the Rust Belt] on the album. That’s pretty regionally specific. Goodbye Barcelona I would say it’s not American there. So yeah, I don’t know, I think there’s world experience that’s made its way into my tunes.
Also, it’s like the context that both plays with each other, the compare and contrasting all the places that we go to. It’s sort of a mish-mash in your mind. You like to think that you know what some things are about and so you, maybe even for the sake of a song, will take an idea that you have about a place, a feeling, a people and an experience and write a tune about it.
SBW: You worked with Jimmy Sutton on your new album. How’d you come to work with Jimmy and how’d he put his stamp on this LP?
PL: Jimmy is a well-known figure in music, especially on the underground rockabilly and early rock n’ roll, blues music scene. Obviously, he’s had his most recent acclaim with playing bass with JD McPherson. From a producer role, he produced JD’s last album Signs and Signifiers, which has done really well for him. Working with Jimmy, knowing his catalog over the years and him as a person, I knew that he would be a perfect fit. We got together and started talking, eventually pre-production stuff, I just knew that we were hitting it off and we were gonna do well together. He’s got a good style. He’s got his own style. He brings it, and I think you can hear that through the record for sure. He’s also easy to work with, and helps you go through the process, which, of course, is important.
SBW: Your latest album was released on Rounder. Why the switch from Third Man Records this time?
PL: Rounder was interested in me being a part of a new identity with them. Obviously, them signing JD [McPherson] was a part of that as well. Trying to take blues music into the future. I felt respect for that, and obviously there were some business dealings in there that were favorable as well. It just seemed like a good fit.
SBW: I caught your recent interview with Terry Gross on Fresh Air. You played a song by an Indianapolis musician, Leroy Carr, for her. I was wondering how you came to know his music and why it spoke to you?
PL: Yeah, Leroy Carr and Scrapper Blackwell — his guitar player. Well, you know, just the same way I found a lot of music. You look at a record, or a CD, or a tape, or even a YouTube video, and you look at the next thing. You look at the discography. You look at the label or what the YouTube thing suggests, right? And I write things down into notebooks as I always do, and you dig it up. So, that’s simply how that happened. The specific labels I would listen to, and I would dig through in-depth as a youngster was Yazoo Records and Document Records specifically. They re-mastered and reissued hundreds and hundreds of titles from the pre-war era.
SBW: You’re an artist who wears his influences on his sleeve. When did you began to feel confident enough to feel you could offer something unique to such established, traditional forms?
PL: When did I feel confident in it? I don’t know, I think I’m still gaining confidence. I think that confidence is something that wanes. It’s something that increases. You try not to let it brim over. You try to keep it in check. I certainly have more of it now than I had before. I didn’t really think of it from a confidence standpoint. I just thought of it from you do what feels good. You listen to music that makes you feel good. You make music that makes you feel good. You sing what makes you feel good. You write what makes you feel good. As you get older you challenge yourself, and there’s a lot more things in your brain that it’s kind of harder to get to some of the things that just simply feel good. There’s a higher bar set now for what is good and what is not, in my mind. So, I’m writing even more now, but I’m releasing and performing less. There’s a lot of stuff that ends up under the table out of experimentation.
SBW: Your live shows are notorious for a lot of dancing. How has your audience’s appetite for kicking up their heels shaped your songwriting?
PL: I guess, unless when you play in Cleveland. If the youngsters come out, it will be a rowdy time. We’re very honored that we have a somewhat accessible music that transcends the age groups. So, we’ll get a decent amount of older people that I wouldn’t say are so much into making noise and dancing – quite the contrary really. We want to make sure that people can come to the show and express themselves. So, we would want to stress that no one can tell anyone else in the crowd to be quiet and stop dancing.
SBW: You’re heading to Europe for a couple of weeks following your U.S. shows. Have you toured in Europe extensively in the past?
PL: We have. We actually do better in Europe than we do in the states.
SBW: Can you tell us about the difference between audiences overseas versus back home in the states.
PL: I don’t know, I think that they, perhaps, appreciate the classic sound. I think that they appreciate the refinements in the form, more so than Americans do who are more often than not trying to chase a fad. I think it has to do with the wealth of music we have over here. Not saying that Europe doesn’t, but I don’t know that Europeans think about forms in the same way that we do. They don’t attach the same sort of buzzwords to it. Their stimulus, it’s not hindered really. Again, they just do what feels good.
SBW: What’s next for Pokey LaFarge?
PL: Well, thank you for asking. I know that it will be a pretty busy touring year, all the way through the spring of next year. In August, I look forward to the opportunity to get into the studio and see what a few months of steady writing will bring to me in the studio and maybe do some demos.
SBW: Anything to add?
PL: I will just say that we’re definitely coming to Indiana in support for equal rights. For people to practice whatever religion that they want to, and sleep with whoever they want to and marry whoever they want to, and to not let people’s use a fictional guy in the sky to defend their own ignorance or their intolerance. We’re just happy to come to Indianapolis as always. We love Indiana, and we’re happy to play for the good folks there. It’s gonna be a great time, and I thank you for taking the time.
Written by Rob Peoni
Interview by John Bugbee
I knew that doing a track by track interview with billy woods about his new album Dour Candy was going to be a cool experience. The level of insight and detail he puts into every verse he writes is staggering, especially compared to most of his contemporaries. I was surprised though, not just by what a great, genuine guy he was, but by the same level of insight and detail he put into explaining the songs to me. Whether you’re considering giving the album a listen, or you already love it, hopefully this breakdown gives you a window into the creative process of one of the most brilliant artists on the planet in 2013.
Thought on Tracks: For the intro track “Prologue” what movie was sampled and why did you choose it?
billy woods: It’s called The Dancer Upstairs, it’s John Malkovich’s directorial debut. I saw it around about the time it came out, it’s old now…I just think it’s a great movie and part of the reason is I grew up with in a family where my dad and people around me really believed that Marxist revolution was stuff that they lived. When I was a kid I was really up on different groups or whatever, just out of curiosity… I lived in a country where there was wars and it was exciting to me, the of idea of being a guerilla fighter and all of these sorts of things were really glorified. I always knew the Shining Path. I would argue that it’s a top 3 name in leftist revolutionary groups of all time, and it sounds good in Spanish too, Sendero Luminoso. Now of course they ended up being total psychotics and more of a cult of personality and they got way off the reservation… [The Dancer Upstairs] is one of those movies when every time you watch it you catch something new. So I was watching it one day with this girl and [heard that dialogue] and I was like “Yo, I need that”, and then the fact that at the end he said he would never allow anybody to photograph him. Also the reference to history in the beginning he says “You’re a man who understands history right?” That’s the opening line, and obviously my last album was History Will Absolve Me.
2. The Undercard
ToT: “The Undercard” sounds like a day in the life of someone caught in between two worlds. Can you speak on that concept?
billy woods: The beat for that, “One Thousand Nights”, and “Cuito Cuanavale” were all sent to me as part of a batch of really dope loops that Blockhead chopped up when we were about 60% of the way through the record…I told him I was feeling them and he said we should sprinkle them throughout and create some sort of structure. That was one of the big things Blockhead said that helped progress the album further… It let me explore some ideas without a whole lot of structure in a way that I liked while providing structure for the rest of the album. I was really free within these little loops to imagine little self-contained scenes. With “The Undercard” the same night as a show the character that I’m portraying is going to get a re-up… before I do a show a lot of times I can’t even be in the venue, I’ll be like out walking around and just come in the venue when it’s time to perform… When (the character) leaves he’s nervous about getting bagged up, but then at the same time it’s blending with the nervousness about the show. He kills it, but never losing sight of the backpack with the re-up in it… I got this crazy story about “The Undercard” too. I was with this photographer Alexander Richter at my house this other day and he said “It was cool how you did that Clipse thing on the first song” and I was like “yeah, I thought that was cool”. Then he was like, “I put it in and as soon as it came on, before I even heard the lyrics, I was like wait…” and then I was like “wait, what are you talking about?”. Then he was like “that song, the beat, they did the same beat”…I end up looking it up, I had never heard this Clipse song “Freedom” until the other day… The crazy thing is I made, just by sheer coincidence, a “Pushed a ton, no Malice” reference on a song that [uses a beat] from a Clipse song… It was fucking bizarre.
ToT: “Gilgamesh” feels incredibly personal, at the same time it’s almost too interesting to be true. How did this song come about?
billy woods: That song is pretty important to the album. It was in the first batch that Blockhead sent me and I don’t know if anyone else he was collaborating with passed up that beat, but to me when I heard that beat I was like ‘Oh my God!’… I think it’s one of the best songs in my catalog personally… I was coming back from DC on the Chinatown bus and this really beautiful girl ends up sitting next to me and then we end up having this really involved conversation on the way up. She was half Dominican and her dad had somehow been involved with the Trujillo regime and she was like an illegitimate child or something, but she had grown up here…She was beautiful, political, and she was a writer and I’m sitting there like “Yo, I would wife this girl if I was still young.”…But she was talking about how Rafael Trujillo had this thing where he would come through and basically demand to have sex with the bride-to-be on her wedding night… Then she started talking about this story of Gilgamesh which I didn’t know, so then I looked up the legend of Gilgamesh and it was pre the Bible, but it was a creation story that was very similar to the Bible in a way…One of the reasons God made another creature for Gilgamesh to do shit with was they complained that Gilgamesh was demanding the right to sleep with their wives on their wedding nights. So my narrative starts off when an ex I’m close with comes to town and, surprising to me, we end up hanging out and she admits she’s getting married, but basically wants to fuck… I listen to songs and [rappers’] sex lives are so triumphant and that isn’t always how my life [has gone]… In the second verse I wanted to give a couple different perspectives, maybe in the video it’ll be clearer, it’s the same character in a way, but a different scenario and situation… The “rattling medals” line is because Trujillo gave himself so many medals, I always thought that was funny. Like you’re the president and the head general and he had so many medals they called him bottle caps because you could hear him clicking wherever he would go. I like the idea of him still wearing them, he probably just unzipped his fly to smash with his epaulettes on!
4. Redacted (ft. Elucid)
ToT: “Redacted” has a great feature from Elucid, you guys have developed some serious chemistry in a short period of time. What’s it like to work with him and how did this song come about?
billy woods: Starting off working with him it was a really difficult experience for me because I wasn’t used to always getting outdone on tracks. I figured you need challenges in life to get better and so I started taking a lot more time in working on those songs… Elucid can really do it all as an MC so it’s a big challenge [to work with him]… I asked him to get on it and he came up with a great chorus. To me it’s a song that makes me want to break out good trees.
ToT: Does the word Manteca have a meaning and does it relate to the concept of the song?
billy woods: I’m a huge Spike Lee fan and Crooklyn was on. There was one scene with the tranny in the convenience store and they’re playing “I’ll Never Go Back to Georgia” and it’s this whole dance scene and the bodega owner is freaking her…I was like “Why are Dominicans singing about I’ll never go back to Georgia?”… [Manteca] is the name of an Afro-Cuban jazz song that Dizzy Gillespie did and then the Joe Cuba Sextet in the 60’s put out the one that I am used to [as an homage]. They took that ‘never go back to Georgia’ chant from Dizzy Gillespie’s introduction to Manteca. Obviously Dizzy Gillespie’s “I’ll Never Go Back to Georgia” is connected to the early civil rights movement and they just took that out of context and used it and I found that interesting. So I thought it was a cool word and I already knew from living in (a Puerto Rican/Dominican) neighborhood that Manteca is lard or pig fat. I thought this is a song about living the life and the police and all of that, and I snuck that “I’ll never go back to Georgia” line in there, and the Kool Aid Man line for which I am most proud.
ToT: Have you ever been witness to someone’s door getting broken in? You’ve made a few different similar references in past rhymes.
billy woods: Yes, one time when I was living in D.C. a long time childhood friend who’s since been deported, let’s just say he chose our guests very poorly on a regular basis…They were men of ill repute and one day after they left, the cops showed up and forced their way into the apartment much to everyone’s chagrin. Suffice to say I did not sleep at that apartment again.
6. Central Park
ToT: This was one of my favorite songs on the album, I commented in my review that it feels like a much different song, especially with the beat and the scratched chorus, than the type of production that you usually work with. Was that a conscious decision or do you even feel that it’s different for you?’
billy woods: Blockhead would just send me the beats and I would [choose the ones I wanted] and hope that they wouldn’t be taken yet. I just picked it and Blockhead was like “Oh, I was hoping you would pick that, but I really didn’t think so because it’s so different.” I was like, “yeah, it’s different” but I feel like I’ve rapped on every type of beat in my career so to me it wasn’t that different… Blockhead was really excited about it and thought people hadn’t heard me rap on something like it and scratching the chorus just seemed like a no-brainer, DJ Addikt is really good.
ToT: If it was done right I could hear a whole album of you over that type of production and it would be a completely different look for you and I think it’d be great.
billy woods: If somebody came to me I would 100% do that. What I really want to do is do a 4 or 5 song EP with Lil Ugly Mane, if he gave me 5 beats, that’s all I would need… If I had 5 Ugly Mane beats, it would inspire different things than if I had 5 Aesop Rock beats, I want 5 of both of those people’s beats by the way.
ToT: Do you feel like you changed your tone with the lyrics at all?
billy woods: It’s interesting how delivery and the music itself can affect how people look at something because “Central Park” to me is a pretty depressing song. When I started writing it I latched on to the idea of the park as a central device and went from there with hustling or whatever… The second half is facetiously about removing yourself from situations, but you don’t have anything to do for other people who are caught in those situations because the manner in which you do it [might not work for them]… There was a situation with my cousin where I did one or two things, but I didn’t put myself out there like that even when I got the feeling that things were going wrong… My cousin actually did end up going to jail after he fled for a little while to Jamaica, then he came back and he took a charge and they gave him a decent plea, but he got convicted of being in possession of a gun in New York. I question the legality of why he was searched, but it was like “why is my cousin out there with a gun like that?” and “what did I do when I saw [what was going on]?”
ToT: When I first listened to the album “Poachers” didn’t hit me right away but the more I’ve listened it’s become one of my favorites.
billy woods: I tried to convince them to make it the first single and I couldn’t understand why only Blockhead and I seemed to think it was absolutely the shit, but part of the reason is that’s the only song on the album where I had anything to do with the production. I sent Blockhead the sample, I’d also like to note now that [“Poachers”] is not on the [official] album. It’s another one where the narrative is not as clear [as it might seem]. The two verses are kind of different and I think sometimes people think they’re the same. They start with the same metaphor, one is they come for somebody else and then the other one is they’re coming for me. Poaching is when you’re killing animals on the king’s land… The idea of stealing and taking things and people is part of the idea…Police come into the neighborhood and take people.
ToT: I interpreted the first verse as the ‘kingpin’ is watching as one of his underlings gets arrested and then later they come for him.
billy woods: That’s understandable, it could work like that. There’s no kingpin in this because none of these people are doing anything that’s worthy of kingpinhood. It’s more about the fact that they come for this one person and how that ripples through the community while this other person is watching the stage and then in the 2nd verse it’s another person in the wilderness and people came for me, but they’re the ones who got harmed… It’s like “everybody’s got a plan till they get hit in the mouth”, that’s a Mike Tyson quote. I tried several times to work a Mike Tyson reference in and I just couldn’t [until then]… I did that song and I told Elucid he had to do to the chorus and he took a long time to do the chorus, but when he did do it, it was flames. I love that song, I love performing that song, it’s a fun song to rhyme. The structures flip a couple times and it felt like stuff was just tumbling out.
8. One Thousand Nights
ToT: What was the concept for “One Thousand Nights”?
billy woods: That was another one where Blockhead sent me the sample where it’s more of a loop and we just kept it stripped down. The idea behind it was trying to talk about dating and sex in an interesting way… There is some aspect to getting over the end of a relationship and you’re putting yourself out there more, but I’m not really the type to be like “let me make a song about this shitty date I went on” because actually nobody gives a fuck.
ToT: I didn’t know who Scheherazade was until I looked it up and it kind of gave the song an interesting twist. Was that just added at the very end, or did you have that character in mind the whole time?
billy woods: I read your review and I was like “Blockhead, isn’t it weird that people are saying they have to google Scheherazade?” and he was like “What? I don’t know who that is.”… But as far as Scheherazade, the whole idea that she keeps this king at bay for a thousand nights with these stories.
ToT: I can’t say there’s any song I like more on the album. You had a couple lines with Indiana related wordplay, Marvin Harrison is my favorite football player of all time and then the Hoosiers reference. To me it’s as good of a beat as you’ve ever rapped over. How did it come together and how do you feel about the song?
billy woods: It was the first song I wrote. It’s cool that people like it, I like it. I remember questioning if I made the second verse long enough, but I was like, “fuck it, I like it how it is”…It was very free, the 2nd verse has a thematic relation with the first verse, but that’s it. I like the chorus a lot, a little bit of a Public Enemy interpolation there…I was really happy to get that Marvin Harrison [line] in there although almost nobody knows about that whole thing… That’s what makes the whole story so fascinating is Marvin Harrison is like such a low profile guy and then when you research the story there was this dude who just still resented him. [see: The Dirtiest Player via GQ]
ToT: There are like 4 or 5 choruses from you on here that are really good. Sometimes in the past it feels like you’ve avoided doing choruses, I know on the Super Chron albums Priviledge did a lot of them. Is that something you’re trying to do more of and do you like writing choruses?
billy woods: Yeah, you know you gotta get better. I still like having non chorus songs and doing other things, but I try to make sure that I don’t have choruses that are OK. If I’m going to do it I want it to be really good and I feel like I’ve gotten a lot better.
10. Tumbleweed ft. Aesop Rock
ToT: Aesop Rock is one of the best MC’s out there, it feels like a natural collaboration because of the pen skills that you both have. What was the concept for the song and what was it like to work with him?
billy woods: I’m a big fan… so it’s been a big thing not only working with Blockhead, but getting to know Aesop more… I can’t tell you how much it means that he’s into my music and agreed to do a song, I have a lot of respect for that dude… I admire his ability to be consistent and innovative, he really doesn’t have two albums that sound the same… We sent him three beats to pick from and he picked this one which I was happy about, and then I just let him set it off… If there was a companion piece to “Blue Dream,” this would be the song after “Blue Dream.” Now you’re broken up and you have a shit load of spare time and not many people to spend it with.
ToT: I thought I might have misinterpreted the first verse of “Hack” in my review. I noticed the cab references, but there were certain parts that convinced me it was about dealing as well.
billy woods: That is what it is. It’s both of them. Also a shout out to my man Richard Price… He wrote Clockers, in Lush Life he started using the term “quality of life” for these unmarked police cars that were disguised as yellow taxis in New York… The protagonist is like, “I hate hustling at night, just increases the chance ‘quality of life’ gonna flash them ‘misery lights,’” Those are two Richard Price terms, “quality of life” and the “misery lights” are blue and reds. I love both of those terms, what could be better than “misery lights”, they go on, that’s how you feel… It’s like yeah, you’d rather stay home and rap, it’s conflating the issue of hustling, rapping and life…The other part of it is I wanted to address being a hack…A lot of people now just pumping out product, the same thing over and over…I was also trying to say with [the chorus] “Write the rhymes they wanna hear right”, that’s what hacks are eventually doing.
ToT: The vocal sample at the end of the song, talking about guy getting trapped between and a subway train and the wall, is very creepy. Where did that come from and why was it used?
billy woods: It’s the worst… When we were doing it in the studio Blockhead was like “This is just fucked up.” I was laughing. I used to watch “Taxi Cab Confessions” when it first came on and I just searched for that episode back in the archives.
12. Fool’s Gold (ft. Open Mike Eagle, Moka Only, & Elucid)
ToT: Did you write you’re verse to “Fool’s Gold” first with the title in mind or how did that come about?
billy woods: I gave everybody a loose concept and then both Mike and Moka ended up talking a little more about the rap game and Elucid and I ended up on a different tip, but that worked because of how the song is split up… Mike’s verse is perfect to set it off, I like the Doomposter reference. Elucid’s verse is pretty fucking crazy…I believe it’s about a succubus. I think that’s what it’s about, maybe I shouldn’t even be guessing what his shit is about, but it’s like an otherworldly experience, being visited at night by this creature. My verse is pretty obvious… Me and my friends used to joke about the type of guy who says to a sex worker “I’ll take you away from all of this.”
13. Pro Wrestling
ToT: Talk about “Pro Wrestling”.
billy woods: This is one that a couple people have gotten wrong. It’s not about politicians, it’s just about 24 hour news media.
ToT: I was one of them. It’s crazy because when I first wrote my review, that’s how I interpreted that song, but after listening a couple more times something convinced me that it was about politicians.
billy woods: Obviously politicians come on the shows to engage in the wrestling drama, but that’s essentially what I’m talking about. I was reading Harpers and there was an article or an intro from the editor and he compared somebody on the news to a pro wrestler and I thought it was a great analogy… Half the time I can’t even watch CNN, I might watch Fox News to laugh, but a lot of times it’s just easier to watch the BBC or Al Jazeera because people are not shouting… I wanted to use the Ric Flair [sample] and I wanted to know the best place to put it. Once I recorded “Lucre” I really liked how it went into “Lucre,” because he’s talking about all the money.
ToT: “Lucre” was another favorite of mine. It’s a very potent song lyrically.
billy woods: “Lucre” was the last song that I recorded. The chorus was something that came to me after reading a Cormac McCarthy book. This guy said in there “They say God remakes the world every day, but the amount of good and evil, he never changes.” He didn’t say it [exactly] like that, but that’s what he said… It’s ambiguous, he doesn’t say the amount of good and evil is properly balanced or imbalanced or what it is, just that he doesn’t change it… The song itself is kind of about back room deals, how power and money are wielded and used… [The line] “What you expect with a black president elect” is talking about how it’s really hard to get certain types of ammunition because they’re scared that shit that hasn’t been grandfathered in is going to be taken by Obama, and the price of gold skyrocketing after his election, I just thought that was funny… In the second verse I’m painting a picture of a country in turmoil… This guy finds himself in the wrong place with the wrong side, even though he didn’t have his uniform on he still got expeditiously murdered… They’ll tell people “you can’t take the bodies out of the street” in order to instill fear or exert control… It’s like somebody’s life hinges on the inflection in somebody’s voice… The “Anwar Sadat/Death Parade” is my favorite line on the record, but that’s my own thing.
ToT: When you make a song like “Lucre” that has detailed political and historical references and themes, does it come out naturally or what is your process in making a detailed statement song like that?
billy woods: “Lucre” was actually not difficult to write and I felt really good about it when I was writing it…I don’t really separate the songs in my mind. I feel like Americans have a separation of the political and the other things in their life…I didn’t grow up in that scenario… My parents would have a party and people would argue about social, political, and gender ideas the whole night. So if you wanted to feel grown up when you were 8 years old, then you would find something to say and be involved.
15. Cuito Cuanavale
ToT: It feels like a continuation of some of your songs where Mugabe has been referenced before. I didn’t know about the specific battle that the song is titled after, or about Africa’s current relationship with China, can you speak on that a little?
billy woods: In Africa right now China is really active, I was just watching Al Jazeera the other day and they were talking about China’s whole thing with Nigeria and the oil, but in many ways, including the way that Africa is now a dumping ground for cheap Chinese goods, Africa stopped producing their own shit…With China owning all these things I’m trying to make the point that the people are not benefiting in any appreciable way. Obviously there’s a Cuban Linx reference [in there], there’s probably some road Cuba built and now China owns land where miners are striking something. It is mentioning Angola, but it’s less about that battle than the ideas represented within that… I’m trying to refer to the bigger idea of winning a battle like that, on one hand it’s the shattering of white supremacy. At that point South Africa had never been stopped in a military objective in its history since becoming a republic. Not only was that a new experience to them, but the South African public found out they were getting in this war they hadn’t even really known about, and that they had lost…From that point on the illusion that they could solve everything with military force was gone. They thought the CIA would come and help them and the CIA was like “actually, no we’re not going to”… That burned the South Africans because they think they’re in this global fight against communism and they realize at that moment that the United States still is not willing to put themselves as South Africa’s ally in front of the world… People that you think are riding with you, when the shit starts to go down are like “We barely know the guy”… The whole refrain is from Marlo from The Wire, “You want it one way, but it’s the other.”
ToT: The line “I bridge the gap from Marechera to Sweatshirt”, that’s one of my favorite lines on the album.
billy woods: Me too. I think of Dambudzo Marechera being the one who blazes the path for the generation that comes after Sweatshirt’s father…So I’m saying between Marechera and Earl Sweatshirt, is me.
Pick up Dour Candy over at Backwoodzstudioz.com and look out for a “Tinseltown” remix dropping soon.