Greenville Scene

by: Michelle Hannon
www.myspace.com/jaycliffordmusic

I had the chance to speak with Jay Clifford before his show at Coffee Underground in Greenville on Monday night. Jay released his first solo album Driving Blind in September of 2007. This is his first release since Jump (Jump, Little Children) disbanded in late 2005.

GS: It seemed to me at times with Jump, that there were other musical avenues you wanted to explore, which you did with Rosebud. Once Jump split, you could have kept doing Rosebud or formed another band, but you did the solo thing. Was that because you just had a lot of songs you wanted to get out, or was it something you had been wanting to do for awhile?

Jay Clifford: Well I think what you’re implying in that question is, is that why the band stopped playing? I don’t know if you meant that or not, but I read into that. I think all of us had something besides Jump that we wanted to do because Jump was more than a day job- it was full on. We committed a lot of years to that band and had a great time doing it and loved it – wouldn’t take a day back. But after awhile, it got to the point where we all felt on the good days that it was a tight family. The rough times, which were at the end of long tours, just being away from home for a long time or whatever. Your mind really wanders, like what else could I be doing? Ward wanted to make a record of his own stuff. Matt and Evan started Cabaret Kiki, they were dreaming of that at the same time. Johnny was having a family.

GS: Yeah, I saw him recently.

JC: Yeah, he’s got three of them now. He’s got his hands full. There are all these different reasons. So it’s not like I really wanted to do anything different. What I wanted to do was to keep doing what I do. Write songs, make records, and go out and play. But I wanted to reduce the amount of touring. That’s the really hard part of the job, just being away from home for a long time. I just wanted to make a record that I really cared a lot about. With Rosebud, I really wanted to make a record that was different from Jump so there would be no confusion. It was kind of tailor made for that. It was kind of the perfect side project. It didn’t get in the way, it didn’t compete at all with Jump. It was its own entity. This record is kind of continuing the vein of song writing that I did with Jump. I feel like I can only do that if the band is not touring. I mean, I could have made this record with Jump if we were all still on the same page.

GS: Like you were saying, the new record is not a complete diversion from the stuff that you were doing, but it does seem a bit more honed in to a certain sound whereas Jump was a bit more eclectic. Was that intentional, based off past experiences? Were you even thinking about that?

JC: Well, the main difference, and the thing that I would never be able to recreate about Jump, is (besides the character of those guys) instrumentation. That was something that was completely unique to us. When we would get on stage and people would see a cello and upright bass and an accordion and all that kind of stuff, immediately we stood out before we even struck the first note. That carried over into our records, so it was a particular sound on the records because of the instrumentation. When you take that out of it, and it’s a more basic setup with drums, bass, guitars, keyboards, then what it does is it really focuses just on the songs. The guys that played on the record are top notch session players, so they knew exactly how to take these songs and interpret them in a standard rock setup. I’ve never had that opportunity before; this is the first time. Everything else that I’ve written was interpreted by the band, (by Jump), with a cello, an accordion, a harmonica, a mandolin. It was a great experience for me to see these songs come to life with a more straightforward approach.

GS: How did your experience writing with other musicians affect your album, or how it came out?

JC: Well, there are a couple of things about co-writing. Number one, I was always hesitant to become a co-writer for other people. It’s always been such a personal experience for me. Then once I started, I realized it was incredibly liberating. Because writing for someone else, suddenly the boundaries of what you can write within your own scope are gone. You can write a silly pop song or a heavy metal song, or whatever is appropriate, and you really have fun with it. I really liked that aspect of it. But throughout that you have to really maintain your vision of what you want to communicate through music and what’s right for your personality. I don’t think there are a lot of people who are singer/songwriters and co-writers. Usually they are primarily writers that help artists. It became very obvious to me that I needed to keep what I love just for me.

GS: I’m glad that you did because I wondered if you were just going to co-write songs with people or if you were going to do something on your own. So I’m glad you did, because I like the record.

In your time as a musician in Charleston specifically, I’m sure you’ve noticed how the scene has blossomed considerably. This is in large part probably due to Jump, Little Children. Do you think the development of a music scene where there was none, or very little is just time and chance, or do you think a town really needs to have certain things in order to foster a good music scene?

JC: I think people attract people of the same ilk you know. If something starts, if someone stands up and does something unique, it attracts a lot of the same type of mindset. So I think that is something that we did (that Jump did) for the scene in Charleston. We injected into the bloodstream of that town some sense of uniqueness. There are some really great bands there right now like Slow Runner, Cary Ann Hearst, The Working Title, Leslie; it’s a pretty amazing scene. I actually do a guitar pull. A guitar pull is when a bunch of musicians get together, and pass the guitar around and sing some songs. I’ve done that a couple of times with Joel from the Working Title at his house. It’ll be me and Sadler and Cary Ann and Michael Flynn and Joel and a couple other guys from town. It astounded me in a small town like Charleston, in South Carolina, way out of the way that these amazingly talented songwriters, and very unique songwriters, are all in the same place. So, I think it’s true; I think there is a certain magnetism that gets started. I think we did for Charleston in a very small way what R.E.M. did for Athens. Obviously R.E.M.’s impact on the world is huge and we were much more localized, much more regional. But you know Athens has like 200 bands and has for the last couple of decades. But I think that’s generally true about the way scenes work is that one great idea brings about more great ideas.

GS: So that’s what we need?

JC: Yeah.

GS: Do you have a particular city that you enjoy playing because of the crowd or whatever?

JC: I always like playing Atlanta and Athens and Charleston of course, and Chapel Hill is one of my favorites.

The other thing that we’re doing now is my first music video. Do you know that guy Zach Braff from Garden State? He’s directing my video.

GS: Oh yeah… yeah I saw that on your MySpace.

JC: Oh, you saw it, ok. We’re trying to spreading the word about that. It’s going to be kind of cool. The idea is that you send in a video of yourself singing the song. It has a really creative aspect to it. Hopefully people will really get into it.

You can check out the video project at www.jaycliffordmusicvideo.com.

by: Kevin Miller

How did X-Records get started and what is the history of X-Records in Greenville?

Ted: The original owner was Gary Araujo who worked at Horizon Records. Gary split from Horizon and started the store sometime in 1990. When I was young I would go into Manifest/X-Records/Horizon and drop $200.00 a week on music. One day I went into X-Records to buy a Love Rockets maxi single and Gary asked me if I wanted a job. And of course I jumped at the chance. He showed me the ropes the first week and I ran the store for 2 years. One day Gary decided he didn’t want to own the store anymore and offered me the store. I’ve been doing this now for 15 years.

What are your aspirations (if any) for X-Records and for the Greenville music scene?

Ted: To book national acts and to provide alternative music. We have great talent here but we need national talent to come through and provide more exposure for the local bands.

If you existed in an alternate universe (say in the trunk of a car next to a cd changer) and were limited to 6 or 7 albums what would you pick?

Ted: The Small Faces - Ogdens Nut Gone Flake would be my first pick, Liquid Liquid I would need, The Beatles - Revolver, Sonic Youth - Goo, Kraftwerk - Computer World, The Free Design - Kites are Fun, and Pink Floyd - Piper at the Gates of Dawn.

What are your thoughts on the internet and it’s relation to music?

Ted: It’s given the power to the individual to explore music and to expand their mind on what is currently going on. But it is being abused with people not paying for the music. 65% of the people who downloaded the new Radiohead album did not pay for the album. For a major band that might not be a big loss, but for an indie band they need every penny they can get to pay bills so they can create what you enjoy. And that also effects local business too. I mean what would Greenville be without X-Records, Horizon, and Earshot?

If X-Records had a theme song what would it be?

Ted: It would be The Clash’s Radio Clash. X-Records supplies information and is always broadcasting in some way or another.

Do you have any favorite regional bands or musicians (past or present) and in general is there anything new you have heard that you really like?

Ted: Yeah, that would The Utah Package. They really rocked my world when I was young. It was fun to watch them get better every year they were together. Randall Huggins is my favorite local songwriter. JT & The Blame are phenomenal! Chris Bickle from Columbia is great also. I think he lives by the quote “Do what thy will, and it will be”.

www.myspace.com/xrecordsbeatmusic
864-298-0110

by: Michelle Hannon

www.myspace.com/coreycrowder

GS: When does your album come out? What’s it going to be called? What’s it about?
Corey Crowder: The album is scheduled for a late Summer 2008 release. It is going to be called Gold & The Sand. The album is very dark lyrically, which is a big change for me from past albums. Topics range from depression, divorce, love, politics, spirituality, heartache, and really just life in general.

GS: How do you feel you fit into the Tooth & Nail roster? I ask because I don’t see many country-ish songwriters on the label. You know, there’s no screaming in your songs.
CC: I feel that this album is a totally new direction for them. They wanted to put out an album that spread across a lot of genres and appealed to a wider audience than the typical albums that they have been putting out.

GS: Did you seek out Tooth & Nail or vice versa? How exactly does a guy from down south wind up in Seattle recording with Aaron Sprinkle anyways?
CC: Well, a little of both. I was feeling uneasy about signing with a major label and was looking for an indie to sign with that had ties with a major. Tooth and Nail was looking for an artist to take their label in a different direction. We hit it off right away. They are great people to work with and I consider them my friends. I feel like there is a trust that doesn’t exist very often in the music industry. I ended up in Seattle by choice. I knew that they used Aaron for a lot of albums put out on their label. After talking with Aaron and telling him the kind of album I wanted to do he was totally for doing it. He needed something refreshing to put out and I needed a totally new environment to separate myself for a few months and record an album. I had a blast and the record turned out way better than I could have ever imagined.

GS: Do you feel like Greenville is a good home base for you musically? Why or why not? Is it good for touring? Do you think you will stay here or move to a bigger city if things go well?
CC: I love Greenville. I am from outside of Atlanta originally and moved to Greenville a few years back. I think the fact that there isn’t as much going on here musically as some other big cities helps people like me to be able to make a name for myself faster. I was having a hard time standing out in the Atlanta area and have really enjoyed the music scene here. I think it is a good central spot for touring. There are a lot of big cities within close driving distance and that is very helpful. I think I will be in Greenville for at least 5 more years before I reassess my plans in life.

GS: What is your favorite venue to play?
CC: I love playing The Vinyl in Atlanta. Even though I love playing in Greenville, there is something about going back to my hometown and seeing familiar faces that I haven’t seen in awhile.

GS: What have you been listening to lately?
CC: I have been listening to lots of Bob Dylan. I have been really into Hank Williams and Waylon Jennings here lately. I also have been jamming some Al Green and Michael Jackson too just to mix it up a little.

*Catch Corey tomorrow, March 22 at The Channel. See the Events page for more details.

by: Michelle Hannon

www.myspace.com/cultureprophet

GS: Michael, you’ve started several bands like Le Chevre and Auburn. Is Culture Prophet the main one you’re focusing on now? Who else plays with you?

Michael Barksdale: Culture prophet is the main focus as of now because it’s the only live act I have. Sean Neuse plays drums in Culture Prophet and I play drums in his band Backseat Dreamer. Le Chevre and Auburn are both recording projects for now unless something changes where I can perform those outfits live.

GS: I’ve heard that your shows really pack out the venue. It’s sort of dance crowd right? I have to say, if you can make Greenville dance, (and I don’t just mean in the “we’re all drunk and this cover band sounds great” way) - more power to you. I wish there was more dancing at shows.

MB: I never have understood why anyone would want to go to show and just stand there. Especially if the band is a dance-y band. I’ve been to shows like 4 or 5 years ago in Atlanta and Athens that were dance shows and all those kids were just standing there. The people I went with and myself would be dancing like crazy and of course all those other people would be staring at us. As for this town dancing, well the whole dance thing is a craze right now so its a hot ticket- the dance show idea. I have always felt like if you are into your music from a visual stand point, then as long as the music is energetic people will be energetic the same way as you. This is pretty much the sole creative idea behind Culture Prophet. We want to show people the freedom of being able to have fun and dance at a show.

GS: Now, Culture Prophet seems different than some of your other bands. The genre is different of course, but it seems purposefully over-the-top.

MB: Culture Prophet began as a project for me to combine my love for early electro, new wave, disco, and rap music. It has since reached a different point. Now there is a scene evolving that is very big and its also getting better and better everyday. The music that is being created around this scene of electronic music is so inspiring for me to keep creating and be a part of it as much as possible. As for ‘over the top’, thats one of the key elements I think for this genre of music whether it be with the music itself or the visuals that connect it.

GS: After doing something like Le Chevre, how did you come to start Culture Prophet? And who are some of your musical influences for CP?

MB: I have been a DJ for a long time now and I have always loved some of the forms of music that revolve around that as well. Mostly that of the early stuff like: Debbie Deb, Depeche Mode, New Order, Pretty Tony, etc. Also rap music like Wu tang clan, Dr. Dre, 3-6 mafia, etc. I have always been very much on the electronic side of music in all forms whether it be the new wave of the 80’s up to the rap music of the now. Dance music has always been heavy on the list of influences for me but not that of the techno rave music. I have always leaned more towards the analog older style because it just has more soul.

GS: What is your goal for Culture Prophet?

MB: The only goal for Culture Prophet is to evolve the idea of freedom into people via music and art. Everyone needs to have fun and open their minds of to every form of expression.

GS: Have you played any out of town shows? What has the response been like?

MB: We have played a number of out of town shows. So far our best response has been in Charlotte at the Milestone. Culture Prophet has a stage presence that is very connected to a crowd and if the crowd doesn’t connect well then it’s just awkward. I’m not saying it’s a bad thing. Sometimes awkward can be awesome, but for the audience it may just make it weird for them.

GS: You have a cd or two for sale, correct? I really like the new artwork.

MB: Culture prophet has no CD as of yet. I have teamed up with Adil at Gemini to create the Spludge Design Company which is the whole look behind Culture Prophet. I am not very talented in the visual creation of things but I have very grand ideas in that realm. Adil is able to create almost through me using my ideas mixed with his talent and his borderline insanity (and mine as well). The end result, I must say, has been over-the-top pleasing for both of us and everyone that has seen it.