MICHAEL MESSER INTERVIEW BY JOHN ANDERSON - October 2002 (Published April 2003)
BLUES
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MICHAEL MESSER INTERVIEW BY JOHN ANDERSON - October 2002 (Published April
2003)
Can
you tell us about the range of music & some of the
influences
on your new album, Second Mind?
This album has been brewing in my head for a long time. As well as the blues & roots influences that many years of slide guitar playing has given me, I was brought up on the pop music of the 1960s & 70s & I have certainly brought those influences to the forefront on this one. Hopefully I found a way of doing so without losing the traditional themes and styles of the blues.
How
is this album “different” for you?
I
think the difference is in my own experience and ability to make & produce
the music. Many of the elements that make up this album have shown themselves on
my previous albums, but as a body of work I feel it is my most complete to date.
All but one of the songs were written with Catfish label-mate, Terry
Clarke. We have been writing together for a long time and have a loose but
successful formula for merging ideas.
In
the liner notes it says “No digital recorders or computers
were used in the making of this record”. Can you tell us about the sound you
were after & the recording process?
I
really wanted this album to sound warm and rich like old vinyl records & not
bright, clean & digital like so many modern recordings & re-masters. We
used an old analogue tape recorder & a non-computerized mixing desk.
Almost everything was played live and overdubs were kept to a minimum.
The instruments, studio and recording equipment were all carefully chosen to
create a certain type of sound. As for the creative process of making the music,
I’d rather not over analyze that too much.
Can
you tell us about the musicians on the album?
The
basic core of musicians: Ed Genis (guitar), Andy Crowdy (bass) & Simon Price
(drums), have been working with me for many years and are an integral part of
the whole sound. In addition, on keyboards we have Richard Causon, who has
recorded with Ryan Adams, Whiskytown
and the Jayhawks. Ruby Turner, is singing the backing vocals. Louie Genis, son
of Ed Genis, is the man behind the turntables doing all the scratching &
drum loops. West Weston is playing the harp & last but certainly not least,
we have Alan Whetton on saxophone. Most recently Alan has been working with The
Blues Band & The Manfreds.
Can
you tell us about the use of ‘authentic’ blues samples on the album…why
you used them…how purists may view it…etc?
It
is sometimes difficult to explain why something creative is done. I really love
the effect the samples & scratching have on the music, adding a sharp
contemporary edge whilst still keeping it warm with tradition. I don’t think
anyone in the blues world has done it in quite this way before. I hope people
like the way it sounds and that it does not offend purists. Those old records
are just as special to me as they are to them.
Can
you tell us about your musical directions for the near
future?
Well
I am still very focused on the music of this album. I start touring in January
and hope to reach all corners of the UK. Some of the dates will be
with the whole band and some will be as a duo with my long time musical partner,
Ed Genis, & also as a trio with Louie & Ed Genis – It’s a family
show!
Where
do you think the Blues is going in this new 21st century?
Interesting
question…if I look at the twentieth century, the blues went from being a
localized folk music to being a major world art-form. Technology played a
dramatic role in its development…from acoustic guitars & 78 records to
full electric bands and digital sound. However, I don’t think the music itself
changed that much. As for the 21st century…I reckon in 2100 Robert Johnson
will still be the king of the blues & Fender will still be selling
Stratocasters. However, for the immediate future I see the blending of old and
new sounds becoming more and more popular, which I think should help turn a
younger audience onto the blues. Michael Messer
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