Dolly Varden - The Art Of Songwriting - Part Two

The second half of an article I recently wrote for the Illinois Entertainer. 

Dawson’s compositions over the years have been notable for their strong melodies and poetic lyrics that emphasize visual imagery. Sometimes they’re inspired by a single phrase he comes up with or hears from someone else. The beguiling “Temperamental Complement” came to Dawson as he was listening to an NPR radio show about how introverts are more likely to have successful relationships with extroverts than other introverts, and vice versa. “Temperamental Complement” might just be Dolly Varden at its most adventurous. A high-powered, alt rock arrangement backs Christiansen's vocals, which are electronically altered to the point where some people have failed to recognize it's her singing. Then there are lines like, “bird underneath each arm, moving without incident, no cause for alarm" and "spooning with a stranger's dog." 

“Making literal sense is not really that much of a priority for me,” Dawson explained with a laugh, when asked about such lyrics. “It's more about the feeling. One of the assignments I give my class is to write a song that's meaningless, that just has a musicality to the language. I've had songs over the years that are very image heavy and non-linear.” Even Dawson's most wistful and autobiographical material, like “Del Mar, 1976,” a look back to his childhood, and the family history of “Saskatchewan To Chicago,” leave much to the listener's imagination.

 The studio trickery on behind “Temperamental Complement” is a result of Dawson’s growing technical expertise. He’s started recording other performers in his home studio, including Melanie Budd and Eugenia Elliott. On the other hand, songs like “Mayfly” and  “Del Mar, 1976,” were given bare bones productions that evoke a live performance in a local club.

The one feature all Dolly Varden’s songs have in common, regardless of genre or production techniques, is compelling vocals. It’s been that way since Dawson and Christiansen performed together in their first band, Stump The Host. With Dolly Varden, they take turns singing lead and backup, and on the disturbing “Girl In A Well,” sing in perfect unison. Sometimes, the vocal arrangements spring naturally, like when Dawson plays a demo for Christiansen, and she starts to sing along when it feels right. Occasionally, the process gets more complicated.

“That’s maybe the most contentious thing about us singing together,” Dawson revealed. “How we’re going to go about doing it. If there are arguments, that’s often where they’ll happen.” According to Dawson, Christiansen’s concern is that too many duets, particularly on songs with a Country & Western flavor, can easily become a cliche. “On ‘Done (Done),’ I had to really encourage her that it would be good for us to sing the whole song in two-part harmony together.”

Even with Dawson and Christiansen doing less singing together on For A While, Dolly Varden’s basic approach hasn’t changed much over the years. “We’re not dramatically different,” Dawson acknowledges. “Which I don’t know if that’s a good thing. A lot of bands really go through drastic changes. But I feel like what we do is already such an amalgam of influences, and those influences have been there from the beginning.”

Looking back on Dolly Varden’s extensive career, Dawson notes that he does like some albums better than others. For A While ranks up at the top, along with another one of his favorites, the 1999 release, Dumb Magnets.

“Those two records as a pair have a similar sound,” he said, “I think they all have a certain character.”

Dolly Varden - The Art Of Songwriting - Part One

Photo from Dolly Varden’s Facebook page.

Note: This article originally appeared in the Illinois Entertainer. The band, which was also recently profiled in the Chicago Tribune, Chicago Sun-Times, and Time Out Chicago,  just returned from a short tour in the UK.

Dolly Varden has been releasing CD’s since its critically-acclaimed debut, Mouthful Of Lies, came out in 1995, but describing the Chicago-based quintet’s music can still be a bit tricky. Singer-guitarist Steve Dawson crisscrosses genres as Dolly Varden’s main songwriter, like an artist choosing colors from a palette. There are swatches of indie rock, folk, and country. Dawson’s wife, singer-keyboards player Diane Christiansen, used to do more songwriting, but has recently become heavily involved with her career as an artist. All but one of the Dolly Varden CD covers have featured her intriguing artwork. The couple has been working with the same musicians -- guitarist-lap steel player-vocalist Mark Balletto, bassist-vocalist Mike Bradburn, and drummer-piano player-vocalist Matt Thobe -- throughout Dolly Varden’s entire history. For A While, their first effort in seven years, adds even more nuances to the band’s eclectic approach.

“This was an attempt to make more of a rock record,” Dawson explained during a recent interview at the home he shares with Christiansen. “That was the plan. I don’t know if we carried it out because I think the songs I like best on For A While are the ones that aren’t big rock songs.”

Some of the engaging introspective songs are the title track, which features Christiansen on lead vocal; Dawson’s folksy and autobiographical “Saskatchewan To Chicago,” and the delicate “Favorite Friend.” But Dolly Varden also does a fine job of executing the big rock songs. “Done (Done)” has a driving beat, “Walking The Chalkline Again” mixes gorgeous harmonies and energetic guitar playing, and “Thank You” gives the CD a rollicking finale. The catchy “Why Why Why” would have fit in well on Fleetwood Mac’s Rumours LP.

“I always thought of that song sounding like Van Morrison,” Dawson said of “Why Why Why.” “But I appreciate the Fleetwood Mac [comparison] very much.” Dolly Varden did a short set of Buckingham-Nicks era Fleetwood Mac songs as part of a tribute band weekend at the Martyrs’ club in Chicago this past Halloween. “I always liked them, but now I respect them more, after having sort of looked under the hood of those songs.”  

As a songwriter, Dawson draws inspiration from various sources, including the early 1970’s music of Neil Young, Gram Parsons, and Linda Ronstadt, as well as The Beatles. He agreed with the image of him being like an artist working from a palette.

“I also hear the comment, ‘Wow, the record is really varied,’” he noted. “Maybe that’s because the template for me was those middle-period Beatles records where every song was a world unto itself.”

Dawson added that his best songs seem to spring from nowhere, as opposed to ones that he really has to labor over. Having read interviews with songwriters, and books by Keith Richards and Neil Young, he’s discovered that other artists also feel the creative process works best when it flows naturally. Dawson teaches Fundamental Songwriting and Continuing Songwriting classes at The Old Town School Of Folk Music, but feels he can only present the mechanics, along with a forum for sharing ideas.

“I  can’t teach you how to write a song,” he maintained. “You have to learn by doing it.” He gives his more advanced students challenging assignments like pretending they’re trying to write a hit single for Country & Western legend, Patsy Cline. “They bring it in and play it for everybody, and we talk about what may or may not be working.”

Slumgullion

Bradley's Angels? Photo from The Handcuffs Facebook page.

Anyone looking to get into the spirit of Presidents Day should check out the four-band lineup headed by Van Go elected for Subterranean this Sunday night. The Presidents Of Rock! will also include Fair Moans, Collectors, and In Threes. The music kicks off at 8:00 PM. Subterranean is located at 2011 W. North Avenue in Chicago.

The Handcuffs have parted ways with veteran guitarist-keyboards player Ellis Clark and are welcoming new guitarist Susie Q. That leaves drummer Brad Elvis as the sole male musicians in the band. Clark meanwhile has been working his new solo effort and keeping an active profile on the local club scene.

The dB’s are asking their fans to support Jake Gorst’s quest to get funding on Kickstarter for his art-related documentary, The Rise And Fall Of Books. Gorst, who designed the power pop band’s first website, has already shot and edited a profile of the various ways artist Buzz Spector incorporates books into sculptures, photographs, and drawings. Now he needs financial help for post production, festival submission fees, and DVD manufacturing. The Rise And Fall Of Books features The dB’s on its soundtrack, and backers can get some cools perks for helping out. 

FitzGerald’s  in Berwyn, long known for presenting Americana music, will be the scene of the sixth annual After Brunch Bash next Sunday, February24th. The coed country music/swing/doo-wop quintet, The Teflons, fronted by a trio of female vocalists, and bluegrass trio Sunnyside Up, will be providing the entertainment at this year’s event. Food can be ordered from the nearby Capri Ristorante.

Hired Goons will be at Silvie’s Lounge on March 2nd. The comic rock band draws inspiration in equal parts from The Ramones and The Simpsons TV show, and is currently working on a follow-up to its fun debut, Everything’s Coming Up Milhouse. They might even do some new material at their Silvie’s gig.

One of my all-time favorite French garage rock bands, The Plastiscines, have announced on their Facebook book page that they’ve recorded a new single. They haven’t revealed the name yet, but hopefully, it’s from a new CD that will be out soon.

Happy St. Valentine’s Day!

The Hollies plant a kiss on a real-life Jennifer Eccles.

Today’s post is dedicated to my lovely wife Pam, who created this blog site, and continues to love and support me. Also, best Valentine’s Day wishes to all those who visit this blog.

Valentine’s Day is a time to celebrate affection in all its various forms: Your significant other, family and extended family, pet(s), the people who “get” and appreciate you, the ones you admire, those who’ve inspired and/or mentored you, and all the ones you’ve haven’t even come across yet but will make your journey more enjoyable down the road.

A few suggestions for Valentine’s Day songs:

The dB’s - “Love Is For Lovers” Set to an irresistible melody, band member Peter Holsapple’s song comes across as a jubilant tale of a guy who finds himself in a relationship for the first time. “Do you believe that real love is right now?” Holsapple asks. “Could we be having the time of our lives now?” He wonders, “Can you conceive of anything better?”

The Hollies - “Wings” A romantic ballad that mixes nature, magic, and a touch of defiance. The lyrics, set to a delicately beautiful arrangement, celebrate the uplifting power of love, and ask, “Why do they want us to walk when we can fly?”

Over The Rhine - “Rhapsodie” One of several intriguing tracks on Patience, the 1992 major label debut from the Cincinnati-based alt rock/Americana band, Over The Rhine. Written by singer-acoustic guitarist Karin Bergquist, its exquisite piano and strings arrangement, plus the line, “And I couldn’t love you any more than I do right now” might make this seem like a perfect choice for a first dance at a wedding. But Bergquist was singing about something deeper and more challenging; a love that endures hardships, and the way people in a relationship change over the years. A love that continues even after a couple has broken apart.

Vintage Publication Spotlight: Discoveries

Like Goldmine, Discoveries was a publication devoted to avid collectors of records, CDs, and every imaginable sort of rock and roll related treasure. According to Wikipedia, it was eventually purchased and absorbed by Goldmine. This issue is from May, 2004, and the cover story -- Power Pop: Saving America From Blandness -- was the reason I bought it.

Writer Chris Nickson follows the genre’s lineage from The Beatles through Badfinger and The Raspberries, on to later practitioners like Shoes, Cheap Trick, 20/20, Pezband, Dwight Twilley Band, and The Knack. There are a few paragraphs on British artists, including Nick Lowe, The Records, and the Motors. Nickson contends that the term power pop wasn’t used across the pond, and that such acts were considered new wave. Nickson explains “power pop has never gone away -- it simply disappeared underground, where it’s remained ever since.”

Elsewhere in this issue, under the guidance of Publisher/Editor John Koenig, there were regular columns like DiscNews, Pondering Aloud, DiscMail, and Stuff I Like. Koenig did a lion’s share of the writing. Scott Blackerby profiled psychedelic rockers The C. A. Quintet; George Paulus shared Record Horror Stories; and Robin Platts did a piece on The New Pornographers. Discoveries also had reviews and of course, several pages of rare records for sale from vendors throughout North America. 

The Debut, Redone

Chris Difford (left) and Glenn Tilbrook live at BBC Radio 2.

It’s safe to say that no band has caused more of a stir with its first recording than The Beatles did with Please Please Me. Even more amazingly, John, Paul George, and Ringo created their world-changing effort in a span of just 12 hours. BBC Radio 2 came up with a fun and ambitious idea to mark the 50th Anniversary of that recording by inviting several musicians to Abbey Road Studios to recreate the LP, track by track. The results could be heard live on the Beeb yesterday.

Glenn Tilbrook and Chris Difford, who as chief composers for the band Squeeze, have been compared to Lennon & McCartney by numerous critics, brought their distinctive harmonies to the LP’s title track. They were joined by Paul Jones on harmonica. Singer-guitarist Paul Carrack, who spent some time in Squeeze back in its early days, turned in an acoustic-based “Misery,” and Mick Hucknall’s heartfelt “Anna (Go To Him)” was another highlight.

Stereophonics offered a rollicking take on “I Saw Her Standing There” that was true to the spirit of the original, while Joss Stone, I Am Kloot, and singer-guitarist Gabrielle Aplin performed slower versions of “A Taste Of Honey,” “Chains,” and “There’s A Place,” respectively. Other artists involved included The Merseybeats And Friends, Beverly Knight, and Graham Coxon. I wish I could say I know all this from being there, but the clips can be found on the BBC Radio 2 website. 

Correction: Yesterday on BHT, I stated that John Anderson’s Born In Chicago blues documentary received its world premiere at the SXSW Film Festival over the past weekend. Of course, that would be impossible since SXSW doesn’t take place until March. That’s what I get for trying to squeeze in a blog post at 11:30 at night, following a long work day. The error has been fixed.

Blues Documentary/Phil Angotti Video/Abbie Fest Update/Fresh-Brewed Coffee

He loves singing about vinyl. Photo from Phil Angotti’s Facebook page.

A few years ago, I attended the screening of a documentary about white kids in the 1960s venturing into Chicago’s south side blues clubs to hang out with some of the genre’s best musicians. Director John Anderson’s film was a work in progress when I wrote about it for the Illinois Entertainer, and was titled, White, Black & Blues. The finished product is now called Born In Chicago, and will have its world premiere in March at the SXSW Film Festival, along with films like Green Day’s Broadway Idiot and David Grohl’s Sound City.

One of the best tracks on Chicago-based singer-songwriter Phil Angotti’s People And Places CD a while back was a fetching nostalgic look at his youth called, “My Old Records.” Director Lou Hinkhouse has created an inventive video for the song that features rare clips of performers like The Beatles, Rolling Stones, Sonny And Cher, Peter And Gordon, and The Byrds. 

In last Friday’s “Slumgullion” post, I mentioned that this year’s Abbie Hoffman Died For Our Sins Festival will be held on the weekend of August 16th - 18th. Mary-Arrchie Theatre, which hosts the annual bash, just announced on Facebook that the date has been changed to August 9th - 11th. Whatever the date, this rollicking celebration of theatre, comedy, music, and performance art is always one of the highlights of the summer.

I got together with Jeff Kelley this past Saturday to film some comedy bits for the season finale of his weekly Internet show, Sunday Morning Coffee With Jeff. His wife Dawn played an off-camera reporter while I revived my Fritz Willoughby character, the senile host of a fictional series called “Old Days.” My antics should show up on SMCWJ within a few weeks. 

Afterwards, Kelley and I talked about his plans for creating stand-alone film clips that wouldn’t be part of his weekly Internet show. Some of the possibilities include comedy skits, visits to brew pubs or conventions like C2E2, Comic-Com, and Fest For Beatles Fans. There could also be interviews with an assortment of creative types. It will be interesting to see what he develops, and I’m looking forward to being part of it.