Interscope Records CEO
JimmyIovine
was featured in a recent piece in Rolling Stone, and it was one
of those rare celebrity interviews that actually yield insight and
useful information for people interested in music production and
engineering. READ
MORE...
On Selling Songs Through
TAXI
Occasionally, as an amateur
songwriter, I will open the account I have with TAXI, the Web-based
Artists & Repertoire service, check out the listings, usually for those
calling for Film & TV soundtrack music, and if I have something that
seems like a possible match I will upload an MP3 mix and submit it for
consideration. I never get anywhere with this past-time...
READ MORE...
New Releases on RARadio:
"Last Call" by
Jay; "Darkness" by
Leonard Cohen; "Sweetbread"
by Simian
Mobile Disco and "Keep You"
from Actress
off the Chronicle movie
soundtrack;"Goodbye to Love" from
October Dawn; Trouble in Mind 2011
label sampler;
Black Box Revelation Live on
Minnesota Public Radio;
Apteka "Striking Violet";
Mikal Cronin's "Apathy" and "Get
Along"; Dana deChaby's
progressive rock
This edition we spotlight
the outsider-art ethos and courage of singer-songwriter Amanda Jo Williams,
whose still nascent musical expressions are an inspired outgrowth of a rural
Georgia upbringing, New York City modeling experience, Woodstock alchemy, and
motherhood. She has released six albums, the first four of which were with
the Woodstock punk band Army of Love. Then around 2006 she changed course
with the birth of another child and publication of a book, Grace Light
Warrior, which depicted her fascinations with Native American cultures.
And with this period came a new album - her first solo LP, the critical favorite rockabilly-punk Yes I Will, Mr. Man - and a new performance
persona, which is the one you see today: a low-pretense chanteuse in a
hillbilly-thrift store dress, or possibly a plaid shirt, seated behind a kick bass drum with a fifty-dollar
child's acoustic guitar on her lap. The shrill punk edge in her voice has given
way to her more natural style: an almost a-musical nasal bleat that lands
oddly on one's ears, putting her well out of the mainstream of modern pop music,
while in overall impact achieving individuality in a world in which such seems
almost impossible. One wonders if this isn't the driving force in her life.
This, after all, is a person who was the subject of a four-year daily film
documentation of her life with her kids and her music. That film, titled Pull
Back the Shade from an Amanda Jo lyric and created by photographer Muzi Quawson, has been exhibited in museums and galleries worldwide,
including The Tate Britain in London and Yossi Milo Gallery in New York City
Amanda Jo Williams' subversive vocal wouldn't
mean much were it not carried along by some lovely melodic structures and
sinisterly clever poetry. Probably the best way to take her in is through the
Website she
has on Tumblr, which features numerous videos, photographs, and
artworks. Some people will find some of it disturbing, like her most recently
posted video that seems born to run behind the closing credits of a torture-porn
flick.
Among the many aspects of Amanda Jo Williams
that make her so fascinating is a kind of open-wound aspect to her work, not in
the usual sense of juvenile angst and heartbreak but in the raw, visceral sense
of surgical wounds popping open to release pent-up butterflies. There is beautiful,
ugly subtext underlying every tricky narrative, like windows into the mind of an
old soul that has been freed of all but alternative insights and open admissions
in a world that
worships artifice as norm.
It is hard to think that she may be
challenging
us - those of us who are limited to appreciation of familiar things that
reinforce our own images of who we think we are - and yet even mockery
seems possible, for such is the role of the artist and the motivations of a
determined rebel are not always easy to ascertain. Or maybe Amanda Jo Williams
is a celebration, in some form, for much of her work - putting aside the
recently posted Carrie-like video - is childlike, an observation of
beauty and an expression of delight. Her ambitions may not be to
replace the musical world we know so much as to attach to it, like a beautifully
colored barnacle against which the hull of popular expression seems a little
mundane. - RAR
AMANDA JO WILLIAMS
We gave Amanda Jo an opportunity to respond to our
questions in writing, and the words below are just as they were
received, unedited with Amanda's approval - "yes, i agree. keep as is. i assumed you would.
okeedoke, talk to you Tuesday. thank u."
Your publicist refers to you as a
"Freak Folk" artist. Does that genre of music - often associated with
Devendra Banhart, Joanna Newsome, CocoRosie, Animal Collective, others -
resonate with you? Or do you even think of yourself as doing a form of
"Freak" or "Psychedelic Folk"?
Amanda:
when freak folk is used i squirm. not sure
why. my songs and art are my story. it's not a team- JN on first, DB on
2nd, etc. the artists who are in my story are Johnny Cash, Willie
Nelson, Flashdance, what mama was playing on the piano, Hootie and the
Blowfish on the radio in the truck waiting for daddy to be done pulp
wooding, grandmama and her foghorn and colostomy bag, annoying cats and
their pee, fire, puppies, stories of guns, etc, cancer. i want it to
sell, i want people to hear it. i don't care what it's categorized as,
as long as people will give it a listen. i like comparisons that go
something like, "if Johnny Cash were married to Adam Sandler but he was
cheating and had a clown with Joanna Newsome. Johnny (he's the girl,
Joanna the boy) would raise that clown as if it were Adam's(Adam never
knew) and the music sounds like that kid, the clown.
You have a sound that seems to
knowingly be other than that which is going to appeal to mainstream
listeners. Everything about your approach, even including the
carnival-dog look of your band, says counterculture. Do you have a
target audience? Who are they?
Amanda:
i didn't mean to not be mainstream, i just didn't happen that way.
though, you know, i bet if my songs were produced differently and sang
by a normal voice, maybe the lyrics getting changed up a little, i could
hear them on mainstream radio. they're catchy. that'd be fun. i would
like Justin Bieber to cover a song. what a dream that would be. ha. i'd
guess my main audience is 25-35, with some older men thrown in there. if
most are weirdos, socially awkward, dreamers, lovers, even better. one
reviewer said it's music for the kid in the back of the class, something
like that. i agree. or the strange ones in front who can't see well and
don't have glasses or contacts and want to make good grades. that was
me.
As I read through reviews of
your work, I usually find myself thinking that the reviewer didn't
really listen closely to the lyrics. I often think that reviewers have
responded to the trippy carnival-like sound, which often masks lyrics
that seem filled with subtexts that they have simply missed. Do you feel
that way? Do reviewers get what you are doing?
Amanda:
i think you're right. there's maybe been one or two reviewers that said
something smart about the lyrics but yeah, i'd agree. maybe the lyrics
just don't mean anything to them... there are some wacky metaphors.. in
"The Bear Eats Me" i say "the phone gets me oooh dippy..." that line is
about waiting for a text message you never get. it takes over your life.
you can't wash the dishes, clean the bathroom, bathe your child,
waiting... it's horrible. i've outgrown that. but people could relate to
that if they understood what i was saying. it's poetry though, as
perfect as a flower and, has to be, as god made it.
In so many ways, this sounds
like a very strange Appalachian take on a classic rock album. One can
hear Neil Young in some of these songs, Jim Morrison and the Doors in
other, though all of this may go right by the casual listener who more
than likely would think he was listening to someone on acid. Is any of
this drug inspired? My guess would be something organic, like peyote or
mescaline.
Amanda:
5-Track, the brilliant guitar player on this album smokes weed daily as
far as i know. He brings the acid feel. actually, you know, i've been
accused of being on drugs a few times and i was as sober as anything. i
have a big and free imagination, and i like to play, like children play
and feel simple joy. i can still play and i'm almost 32. i drank alcohol
whilst recording this album. i'm stuck in a shell a lot and it helps me
for when i need to do things out in the world. however, most of the
songs when they were written i was sober, in the morning, on coffee. i
do work in the mornings. after 2pm i feel like i have to stop. of
course, if i'm deep in something i'll keep going but i get so wrapped up
sometimes it hurts. gotta pull myself out. sort of like shopping. i
don't like doing it. overwhelming.. like a casino with no windows or
clocks..
Your melodies are lovely and I
notice that a strange transition seems to take place when you go from
your lower to your higher register: you blossom, and I am wondering if
this is calculated on your part. You become that accessible girl singer
with the lovely lilting voice, and going there occasionally feels like a
touchstone moment in your songs, almost reassuring to the listener,
before you take them back to the somewhat unsettling Amanda Williams
standard delivery.
Amanda:
i'd sing high more if i didn't think i would sing out of tune. i'll
record higher stuff at home just by myself b/c no one's around.. i think
i'll grow into doing that more, get more comfortable with it.
Do women like you? Or do you
find that certain female types are irritated by a voice that is often
described as "little girl" like, though I don't really hear it that way
myself. To me, it is more like an untutored hillbilly grandmother who
just happens to have something like perfect pitch. How would you
describe your own voice? And is it real, or a part of the act?
Amanda:
"untutored hillbilly grandmother"- i love that. growing up, around
certain adults, like my daddy, i'd change my voice to higher pitch, baby
voice. like a weak animal i suppose. maybe i'm just in a phase doing
that again. i think i'm coming out of it a bit. if u listen to my album
"Yes I Will, Mr. Man" from 2006 i don't sing that way at all. i sing
lower and manic, hyper. i can't even listen to that album. i didnt know
what i was talking about as lyrics. i don't know if women like me, never
thought of that. i suppose they do. i have female friends and fans. you
know how women are though, they can hate on other women if they feel
threatened or insecure, jealous.. guess most everyone's like that
sometimes. i sing the way i talk mostly.
How much of your stage persona
is merely a theatrical presentation? In truth, it doesn't appear to be
theatrical at all, but more like a hippie happening, a sort of musical
be-in in which you are the emcee. What is it all about?
Amanda:
not theatrical. we're not He's My Brother, She's My Sister (love those
guys). we're all just these unique individuals who don't rehearse much,
get onstage and do our thing. we all respect each other, for the most
part.. and have fun. yeah, we have hippie souls, or gypsy souls some of
us. Alex Maslansky, not on album, is just a smart, funny, unique,
strange, cool guy. he plays like a helicopter. 5-Track is a wizard.
hippie wizard. super intelligent. i don't know what he's talking about
half the time. Lauren(Feather)- flower child thingie. she went from
never having played percussion to now playing in a few bands and doing
great. L.A. Weekly wrote up a little thing on her. she can eat a lot
too. she's little. she's probably the most theatrical of us all and
that's appreciated. she dances and bangs and beats and pounds. it's
great. Jef, hmm, well, he's the oldest member. plays bass. very
reliable. very friendly. he likes superheroes. generous. he's kind of
the earthy one more or less, keeps it planted somewhat, while the rest
of us are off somewhere. for me, i'm too shy and really don't have the
desire to be flashy. when i sing the songs i'm lost in them and if i
were to focus on how i or we were looking, i'd lose the words or it
wouldn't feel right. having said that though, i could see myself more
out front on stage, out from behind the kick drum i hide behind.. i'll
do it when i'm ready. be yourself, be honest- though slow and late
blooming it can be- it's worth it in the end.
Do you have aspirations for
your musical career? It feels to me like any kind of major success would
require mainstream acceptance, and in gaining that acceptance all that
is special about Amanda Williams would be lost. Do you feel that way? Or
would that just involve an evolution you would be willing to undergo?
Amanda:
i want to get more songs licensed. a song of mine, 'Homeheart' was used
in an MTV show "Awkward." it's tamer than most my other tunes. would
love to compose for soundtracks, indie stuff and work up.. but no, i'm
not going to change or stop doing what comes natural for me. we all have
our gifts for the world. do what you're supposed to/good at/the gift and
you'll at least be happy. i think. i want to collaborate with artists i
enjoy and respect like : Jack White, Cee Lo Green, Outkast, Johnny
Depp(not sure how), Tom Robbins(not sure how), Cindy Sherman(not sure
how), David Lynch, Werner Herzog, there's more. long list. basically i
want to make a living at art. i want a quiet studio. i make short art
videos and draw.. you can find them on my tumblr. very proud of the A55
and Cr0tch series and Hi Aliens Do Hot Women series. films have always
been a passion. as a little, small kid on up, i've loved movies.
everything about them i love. i want my music in them. i want to be part
of them.
Who let this lead guitar
player go? Is that "5-Track" or Alex Maslansky? And what is his
relationship to the composition of these tunes?
Amanda:
5-Track. he plays lead over my tunes.. very complimentary and yep, i
never suggest anything to him. he has great instincts, straight up
genius. he was there, as was Feather, in the beginning of my L.A.
roots.. he can play anything i'm pretty sure, any style. he knows lot
about music, unlike myself. he plays in a few more bands, one being Dead
Dawn. they're great. his own project is Glass Goblins.. i don't want to
tell a player what i want, because i don't know what i want, but i know
it when i hear it. i want them to play their way and if it fits, yes!
Your themes seem to include a
sense of personal independence that may exploit the benefits of male
relationships but generally seems to want disassociate from them, keep
them at arm's length. Am I getting any of that right about you and these
songs?
Amanda:
i'd say i'm trying to get my power back in most of these songs. i'm hurt
and angry, feel ashamed of myself for fucking up and being weak. these
songs saved me- i did get my power back ,and more. sins turned into
light, made beautiful, made Jesus in my heart like. i didn't write with
all my heart or pain, or perform with all my heart and pain, until this
album and this L.A. band. i'm very grateful for the inspiration. huge
love for it. another angel.
I
pick up a kind of a Wicca presence at work with you, an association with
pagan belief in organic things. Is there something to this? Are you, by
any chance, Wiccan?
Amanda:
haha, i'm not Wiccan. i'm just witchy, born that way. my mama's the
same. really intuitive, pretty psychic, empathic. actually, i did create
a binding spell once, burned it, wet it, dirted it, whipped it around in
the air, all the elements, and put it in a tree hole. i've since moved
so i can't retrieve it and get rid of it! i prefer nature to people.
nature is powerful. it doesn't think and feel like a human, it lets you
be free! if you listen and love it... it gives you songs, or acts as a
great lubricant to ease them out and into the world for you to share.
Where is the world, in
general, heading in your estimation? And how does Amanda Williams fit
into that prognosis?
Amanda:
i'd say it's only going to get better. it's takes forever to become a
hi-alien evolved planet b/c the small percentage of superintelligent/superhearted
have to wait for the "dummies" to catch up. same as you can't run
forever from your pain and suffering, you can't leave behind your fellow
human. we're in this together. we're all stars. all equal. may everyone
be always inspired with massive amounts of energy to get the job done!
________________________
*Nickel On My Back-
lyrics are "Don't Be alarmed when they come for you. Open up and accept
the truth." and "i am a ghost and you are a squirrel. i am the host and
u are the world."
Besides
Amanda Jo Williams herself, this band has outstanding personnel,
including guitarist "5-Track", bassist Jef Hogan Buffa, and that dancing
girl in the video above, percussionist Lauren Fay Levy, who is credited
as "Feather" on the Amanda's albums.
UP THE MOUNTAIN GOING
by Amanda Jo Williams
Are you good as gone?
VERSE1
With the horses up the mountain that's where we go
With an owl friend who flies way down below
The clouds are gray and red's around but we just march on tall
Our hearts are clear and purified our feet know where to fall
CHORUS
That’s where my home is my token
Nobody stand in the way
And nobody will, nobody will
The sun comes out, the moon comes, the starts come out, the frogs
come (4X)
VERSE2
Like a chicken hatching I swim in the darkness first
So I know the games you play for I am well versed
Up the mountain going we don't stop for food or air
Love is in our engines, in our veins a constant share
CHORUS
BRIDGE
Is it the money, money that killed the man live
Did his heart stop beating, beating when he closed his mind
Did his mama tell him, tell him that nobody loves
Sad, it's sad to see him, see him in nobody's arms
In nobody's arms
VERSE3
Planet fools I suffer none they kill for more than meat
Take them down and spin them round to get them on their feet
Up the mountain gentle folks a beauty passes by
Don’t you love her show her some, she's the last to die
THE BEAR EATS ME
by Amanda Jo Williams
the bear eats me ooh dippi dippy doo de dippy dippy do
the phone gets me ooh .....
one long look, and one blue eye, all i'm saying is have a little
faith in me
ooh wa
wear it well ooh dippy dippy doo ....
your fire is touchy ooh dippy
one tall kid, and one fish fry, how it can change a man put him in
the boom boom
all she wanted the turkey on her brain was 50 apple ponies and a
guitar made in spain, she wanted she wanted hi ay ya y ay y
all she needed was kitties and a rat, a curly tailed pig and some wood
that made a bat
she needed she needed hi yayayyayayay
the bear eats me ooh dippy
the phone gets me ohh dippy
_____________________________
RARWRITER.com REVIEW
The Bear Eats Me
RARWRITER.com got an opportunity to hear a
pre-release version of the upcoming release.
(3 of 4 possible) -
Catchy songs with beautiful passages and brilliant
musicianship, if a little heavy handed in parts. Amana Jo has a 4-star
vision for what she wants this to be and an excellent supporting cast.
Maybe a genius producer is all that is between her and a masterpiece.-RAR
The following are track-by-track
unedited notes taken while listening to the The Bear Eats Me LP
for the first time. In Amanda's interview on the right, she is
responding, in some instances, to the comments below.
Light On – Strange sound effects behind an
acoustic guitar – voice is weird, more of an expression, an odd
instrument than a human thing. Wonderful melody line, nice and catchy
build when the banjo hits.
There is no one quite like Amanda Williams, a fact that will tend to
eliminate her potential for developing a fan base. Morning Thunder – Triad repeat in major breaking to a bouncy
chorus – vocals laid really deep in the mix with lots of reverb, making
it hard to understand the lyrics, but to interesting effect, like a
mosaic of occasionally surfacing visual references that pulsates in a
poppy way. Nice melody, bouncy and sort of catchy. Keep the Animals – Banjo, dark beat, 4/4 steady, interesting
background singer support, very high, and nice Nashville guitar support
– difficult melody line to sing, particularly in the harmony lines, but
done well.
Amanda isn’t really a singer in her usual, little girl voice, which is
nasal and almost non-musical, but then she goes into a higher register
where she becomes far more instrument-like, and far more like your
standard talented girl singer. Soul In Songs – Nice edge with guitar feedback, always with the
little acoustic guitar accompaniment, child’s guitar. Simple, childish
melody, that morphs into a high section where Amanda tends to go
otherworldly, as if she isn’t already. Likes to use vocal sounds as
instrumentation, compositional elements, and she does that with a bridge
refrain here. It works. This song is like an acid trip out in the woods.
Odd thing about Amanda Williams is that she has casually perfect pitch,
and a fine sense of rhythmic singing, though she typically lives in 4/4. Nickel On My Back – slide acoustic, banjo, upright bass, Amanda’s
guitar and drum. Usual 4/4 with expanding chorus with backup singers –
the most accessible vocal yet, which isn’t saying much – don’t be
alarmed when they come for you…open up…to yourself be true…I am a ghost
and you are a soul…I am the host and you… Adventurous guitar solo, big
time talent and vision from 5-Track, if a little outside the capture
zone of normalcy. You got to appreciate that they just let the guy go. The Bear Eats Me – I think this song is about controlling a man
to get what you need, but I could be wrong. “One long look in one blue
eye, all I’m saying is have a little faith in me…”
Sunlight – Electric guitar effects heavy – pretty high voice melody line
– minimalist lyric – “tell me you are going to change” – weird guitar
sounds
Does this guitar stuff come from Amanda? Or from 5-Track? Up the Mountain Going – Uptempo 4/4, almost rockabilly, really
hillbilly voice – “that’s where my home is my token…nobody stands in our
way…nobody will” Sounds like some relative dying on a mountain? Get It On Up – “Won’t you marry me, get it on up… God is good and
he loves to ride, and he visits me…get it on up” Stay awhile, we can
make a fire… Seduction song, like some fortunate soul has come upon a
wench in a mountain cabin. Male voice in the sub-mix. Waiting For You – Waltz time, reverb guitar with dissonance –
another cold night waiting for you – worth the wait, I hear them say…
Sounds like she may be waiting for the return of Jesus, which the weird
guitar implies may be a fantasy. Hello Good Morning – Backward waltz, with emphasis on first beat,
gives it an odd feel, with melody matching the beat – you’ll be in
between my thighs if I let you…
There is some blatant sexuality in Amanda’s thematic content, but also a
control thing, as if everything she offers is in trade. Country Girl – tub thumper… Keep my money on my mind, keep my
money all the time… Seems to be about a country girl whose mother would
like to marry her off but whose inclinations are to avoid these saps. Come or Go – It doesn’t matter if you come or go – weird guitar
again, come they told me, with the little drummer boy theme. And the sun
is all you need…other nature references that are sustainable, as opposed
to a relationship? Or a human life? Sick and Dying – Moaning guitar over strummed electric guitar,
then the familiar Amanda 4/4 carnival beat. Slide guitar with wah. This
song morphs into an extended psychedelic journey with a beautiful siren
voice, may not be Amanda. Guitar feedback ala 1967.