Check it out here to get some behind the scenes insight and info you won't get anywhere else!
Dana Fuchs "Songs From The Road" The Interview
It's been over a year since Bliss Avenue was released. What's new?
WELL, WE'VE ADDED SOME MORE COUNTRIES TO THE ROSTER OF TOURING AND
HAVE STARTED TO SEE THE FAN BASE GROWING IN BOTH EUROPE AND THE US WHICH IS
VERY EXCITING. MANY MORE SOLD OUT SHOWS
ON BOTH CONTINENTS NOW! CURRENTLY I’M TOURING
BEHIND “SONGS FROM THE ROAD” AS WE SPEAK!
How do you feel about the success of Bliss Avenue?
THE RESPONSE TO “BLISS AVENUE” WAS OVERWHELMINGLY POSITIVE. I WAS THRILLED TO SEE SOME OF THE CRITICS WHO
GAVE GOOD TO GREAT REVIEWS OF MY PAST CD'S SAY THAT THE SONGWRITING
"CONTINUED TO EVOLVE" AS WELL AS MY VOICE. THAT'S SOMETHING THAT I ALWAYS STRIVE TOWARD
WITH EVERY NEW ALBUM. IT HAS TO ‘BEAT’
THE LAST ONE! THIS IS ALSO WHY SOMETIMES
THERE'S A LONG GAP IN BETWEEN RELEASING NEW STUDIO ALBUMS WITH NEW SONGS. I DON'T WANT TO BE REDUNDANT AND IN ORDER TO
KEEP THE MATERIAL EVOLVING, I HAVE TO KEEP GAINING NEW EXPERIENCES. THAT TAKES TIME. OFTEN TIMES THE EXPERIENCES ARE PAINFUL ONES,
NOT IN MY CONTROL AND OTHER TIMES I HAVE TO GET OFF MY A*S AND SEEK THEM.
Any lessons learned?
THE LESSON I KEEP LEARNING BECAUSE THERE'S ALWAYS A NEW LEVEL TO IT
IS: "NEVER UNDERESTIMATE YOUR
AUDIENCE." NOTHING IS EVER JUST
"GOOD ENOUGH." I'M A
PERFECTIONIST AS FAR AS BELIEVING THAT THINGS HAVE TO FEEL AUTHENTIC. ESPECIALLY MUSIC – AND ESPECIALLY WHEN YOU'RE
NOT IN THE "POP" WORLD. I’M
NOT SAYING THAT ALL POP IS INAUTHENTIC BY ANY MEANS. I AM SUCKER FOR SOME GREAT POP STUFF! ESPECIALLY BOMBASTIC LOVE BALLADS AND
BEYONCE! BUT - IN MY CASE, I HAVE TO WORK
IN A DIFFERENT WAY TO BE SEEN AND HEARD.
ULTIMATELY, THAT'S A REAL GIFT BECAUSE IT MEANS I HAVE NO CHOICE BUT TO
WRITE THE NITTY GRITTY DARK STUFF THAT HAUNTS MY BRAIN. THE STUFF I BELIEVE MOST OF US EXPERIENCE IN
ONE FORM OR ANOTHER AND BECAUSE I'M NOT UNDER THE MAINSTREAM MICROSCOPE I CAN
GET AS LOW DOWN, SALTY DIRTY AS ONE OF MY LITERARY HEROES, CHARLES BUKOWSKI DID
IN HIS STORY TELLING. BE REAL AT ALL
COSTS. THAT'S THE LESSON.
You're about to release a 3rd CD for Ruf Records, due out Nov 11. It's a live CD and concert DVD. Tell us about that.
“SONGS FROM THE ROAD” IS A SERIES RUF RECORDS DOES WITH MANY OF HIS ARTISTS. IT WAS PERFECT TIMING FOR ME WHEN THOMAS RUF ASKED ME TO MAKE THIS THE NEXT CD
AFTER DOING 2 STUDIO CD'S WITH HIM OVER THE PAST 3 YEARS. I WASN'T READY TO MOVE ON FROM THE NEWER
SONGS OF "BLISS AVENUE," WHICH STILL FEEL VERY FRESH TO ME, AND STILL REPRESENT WHERE
I'M AT EMOTIONALLY. THEN, I HAVE SOME OF
MY FAVORITE SONGS FROM “LOVE TO BEG," WHICH TOOK A BACK SEAT AS WE'VE TOURED
BEHIND “BLISS AVENUE.” UNLESS I DO A THREE HOUR SHOW, I CAN'T DO IT ALL!
LASTLY, I'VE ALSO BEEN DYING TO REPRISE SOME OF MY FIRST SONGS FROM MY SELF
RELEASED ALBUM "LONELY FOR A LIFETIME" – “SAD SALVATION” AND “TELL ME
I'M NOT DRINKING” - WHICH HAVE NEVER BEEN CAPTURED ON VIDEO. THE LATTER IS A SONG I STOPPED PLAYING ALL
TOGETHER AND I'M NOT SURE WHY BECAUSE IT'S ALWAYS BEEN ONE OF MY FAVORITES. SO, I REALLY FEEL THIS LIVE CD/DVD REALLY
REPRESENTS THE EVOLUTION OF MY SONGWRITING AND YEARS OF PERFORMING. IT'S ALL THERE. IT'S A STORY ARC THAT I DECIDED BEFORE FILMING,
THAT I REALLY NEEDED TO TAKE THIS TIME.
We've been hearing about various shows being filmed over the last few
years...most recently you shot the Bliss Avenue CD Release Party
featuring some of the same musicians and your European rhythm section. What's going on with that material and what
made you decide that the March 14th show at Highline Ballroom in NYC was the
definitive show for Dana Fuchs “Songs From The Road?”
I THINK THIS QUESTION IS ANSWERED ABOVE. THE OTHER SHOWS WERE LIMITED TO PARTICULAR
ALBUMS THAT I HAD JUST RELEASED WITH A FEW TRACKS THAT WERE JUST WRITTEN FOR
UPCOMING ALBUMS. “SONGS FROM THE ROAD” SAYS
"OK, THIS IS WHAT I'VE DONE SO FAR.
PLEASE CHEW ON IT WHILE I BEGIN THE NEXT CHAPTER OF ANOTHER STUDIO
CD". :-)
Most albums in this series are from shows captured in Germany
(Europe). Why was it important for you
to capture the show in New York City?
ULTIMATELY NYC IS WHERE I COULD HAVE THE MOST CONTROL OVER THE
PRODUCTION. IT'S ALSO THE CITY THAT
SAVED MY LIFE AND WHERE IT ALL STARTS FOR ME.
SOMETHING AS IMPORTANT AS A LIVE CD/DVD THAT ACTUALLY CATALOGS THE SPAN
OF MY ENTIRE CAREER AS A PERFORMER AND SONGWRITER SIMPLY HAD TO BE IN NYC - THE
FIRST REAL HOME TO MY HEART.
Was your decision supported by Ruf Records, which is based in
Germany?
RUF WAS TOTALLY COOL WITH IT.
THAT'S ONE THING I LOVE ABOUT THOMAS RUF, HE REALLY ISN'T A CONTROL
FREAK WHEN IT COMES TO MUSIC AND MUSIC PRODUCTION. IF YOU TELL HIM, "HEY, I NEED TO DO IT THIS WAY SO I FEEL
IT," HE SIMPLY SAYS, “OK.” THAT'S RARE FOR
A LABEL AND I LOVE HIM FOR THAT.
Tell us about preparation and planning that went into making this
concert film and live record.
I BROUGHT IN MY LONG TIME PRODUCTION PARTNER, KEVIN MACKALL, WHO
EXECUTIVE PRODUCED MY FIRST CONCERT DVD, "LIVE FROM NYC.” HE ALSO OVERSAW AND
PRODUCED ALL THE OTHER SHOWS WE'VE FILMED (WHICH WE PLAN TO MAKE INTO A FULL ON
CONCERT "FILM") SO HE KNEW WHAT THE ARC HAD TO BE AND WHAT WE
NEEDED TO GET ACROSS MUSICALLY. THEN, I
HAD TO SIT AND REALLY THINK ABOUT THE STORY I WANTED TO PRESENT IN THIS SHOW
KNOWING IT WAS GOING TO LIVE FOREVER SINCE IT WAS FILMED. THAT WAS DAUNTING AT FIRST. I'D MAKE A SET LIST ALMOST DAILY FOR WEEKS
LEADING UP TO THE SHOW THEN CHANGE IT.
(I HATE SET LISTS!) FUNNY THING
IS, I HAD A ROUGH OUTLINE OF MY SET LIST ON SHOW DAY.
I KNEW THE SONGS I WANTED TO BE FILMED BASED ON THE TUNES I WAS FEELING AND OF
COURSE ONES THAT HADN'T BEEN RELEASED ON VIDEO.
BUT I STILL CHANGED THE LIST IN THE MOMENT DURING THE SHOW. I ALWAYS DO.
BECAUSE I DON'T WANT TO GIVE AN AUDIENCE ANYTHING THAT IS "PRE-CONCEIVED"
OR "DIALED IN". THAT TAKES THE
SPONTANEITY OUT OF THE MOMENT FOR ME. I
GO WHERE I THINK THEY'RE GONNA GO WITH ME IN THAT MOMENT. SOMETIMES MAYBE I'M WRONG, BUT AT LEAST IT
FEELS REAL TO DO WHAT I FEEL IN THE MOMENT.
What are your favorite concert films and live records?
"MONTEREY POP" BY D. A. PENNEBAKER. (THE OTIS REDDING MOMENT IS WHAT
SEALED THE DEAL FOR ME TO PURSUE MUSIC.) I ALSO FLIPPED OUT WHEN I SAW "RUNNIN' DOWN A DREAM" BY PETER BOGDANOVICH. I WATCHED IT TWICE. FOR ME IT CAPTURES TOM PETTY'S MUSIC, THE EVOLUTION, THE ROAD
LIFE - ALL OF IT! I ALSO LOVED THE WHITE
STRIPES "UNDER THE GREAT WHITE NORTHERN LIGHTS.” IT’S SO DAMN FRESH AND
RAW. THEN OF COURSE, THERE'S THE LED
ZEPPELIN SELF-TITLED DVD RELEASE FROM 2003.
FAVORITE LIVE RECORDS? WOW! JOHNNY
CASH "LIVE AT FOLSOM PRISON,” LOU RAWLS "LIVE FROM TOBACCO ROAD,”
LUCINDA WILLIAMS "LIVE @ THE FILLMORE,” U2 "UNDER A BLOOD RED SKY…”
THE LIST GOES ON AND I'M LEAVING OUT SO MANY BUT I AM ANSWERING FAST OFF THE
TOP OF MY HEAD!!
Which takes precedence the video or the audio? How does it all come together?
FOR ME, WHICHEVER THE LISTENER/WATCHER DECIDES. MY ONLY GOAL IN THE END WAS THAT THE AUDIO
NEEDED TO SOUND GOOD WITHOUT THE VISUAL, AS WE ALL TEND TO LISTEN WITH OUR EYES
WHEN GIVEN THE CHANCE. PLUS, I HAD QUITE
AN IMPRESSIVE BAND UP THERE TO LOOK AT!
ESPECIALLY, THE BACKGROUND SINGERS, WHOM I NAMED, "THE SCREAMIN'
SIRENS." THEY WERE ALL SO EXCITING!
How do you see the process of video and audio capture has evolved
since the last time you did this?
WELL, I COULD DO WITHOUT SUCH HIGH RESOLUTION, AS I GET A FEW MORE LINES
ON MY FACE, HAHA! I DON'T KNOW THE INNER TECH STUFF BUT I KNOW IT SURE WAS
EASIER AND THE GEAR LOOKED SMALLER!
Are you involved and what is your role in the technical and production
aspects of the audio and video products?
I JUST SAY WHAT I WANT THE RESULT TO BE AND TRUST THE TECH GODS TO DO
THEIR THING. I'M NOT HUNG UP ON
THAT. IF A SHOW IS GOOD, IT'S GOOD AND
THE CREW NEEDS TO CAPTURE IT.
Are you the producer on this release?
KEVIN MACKALL IS THE PRODUCER AS FAR AS THE PRODUCTION AND TECHNOLOGY. I'D SAY I'M THE PRODUCER AS FAR AS CHOOSING
THE SONGS, THE BAND AND THE ARRANGEMENTS.
YES.
How do you qualify that responsibility?
BEING TORTURED BY FINDING THE RIGHT TUNES. FINDING THE RIGHT REHEARSAL TIMES FOR 7
INCREDIBLY BUSY MUSICIANS, PLUS JON DIAMOND AND ME!
I've already heard it said by many that the March 14th show at
Highline Ballroom is arguably one of the top Dana Fuchs shows of all time. Do you feel that way? Was it capturing lighting in a bottle?
I THIINK IT HAS A VERY SPECIAL ENERGY.
EVERYONE WAS ON TOP OF THEIR GAME THAT NIGHT AND WE HAD A LARGE, SOLD OUT, HOME FIELD AUDIENCE. THAT MAKES IT SPECIAL.
BUT I'VE ALSO FELT THIS MANY TIMES IN EUROPE WITH MY EUROPEAN GUYS -
WHOM I'VE BEEN PLAYING WITH FAR LONGER AND MORE CONSISTENTLY.
You put together a stellar band. Tell us about how you chose the musicians and who they are.
JACK DALEY I'VE KNOWN OF FOR YEARS.
WHEN I CAME TO NYC HE WAS THE HOT BASSIST IN TOWN AND WITHIN A COUPLE OF
YEARS HE WAS LONG GONE WITH LENNY KRAVITZ FOR OVER 14 YEARS. I HEARD HE WAS OFF THE ROAD A FEW YEARS AGO
AND I HAD BEEN DYING TO WORK WITH HIM.
THEN A FELLOW MUSICIAN TOLD ME HE WAS INTERESTED IN WORKING WITH
ME! I WAS PSYCHED! SO I CALLED HIM TO
PLAY ON “BLISS AVENUE” AND HAVE HAD THE GREAT GOOD FORTUNE OF HAVING HIM ON MY
USA SHOWS EVER SINCE.
JOE DALEY IS JACK'S BABY BRO AND I WAS IN A LURCH FOR A DRUMMER OVER A
YEAR AGO AND JACK SUGGESTED HIS BROTHER.
HE CAME TO ONE REHEARSAL AND FIT RIGHT IN. IT'S HARD TO FIND DRUMMERS WHO CAN COVER ALL
THE GENRES. JOEY IS ONE OF THEM. HE'S ALSO ONE FUNNY MOTHER F**KER!
MATT BECK IS AN OLD FRIEND, WHO'S TALENT ON STRINGED INSTRUMENTS IS
ALMOST ALIEN-LIKE. THEN ON TOP OF IT, HE
JUST HAPPENS TO BE ONE OF THE NICEST, MOST HUMBLE MUSICIANS I KNOW. HE'S HARD TO GET AS HE IS THE MUSICAL DIRECTOR
FOR MATCHBOX 20, STING'S NEW MUSICAL, ETC.
BUT WHEN HE'S WITH ME, HE'S REALLY WITH ME.
PETE LEVIN WAS ONE OF MY FIRST KEYBOARD PLAYERS IN NYC! A MONSTER!
AS I BEGAN TOURING EUROPE AND COULDN'T AFFORD TO BRING KEYS, LET ALONE
FROM THE USA, HE GOT SWEPT UP BY THE BLIND BOYS OF ALABAMA AND GREGG ALLMAN. BUT AGAIN, WHEN I CAN GET HIM, I TAKE HIM AND
HE JUST PLUGS RIGHT INTO THE MUSIC AND THE HANG!
THE SCREAMIN’ SIRENS – WOW!
NICKI RICHARDS, ELAINE CASWELL AND BETTE SUSSMAN. ALL OF THEM ARE SUPERSTARS TO ME. THEY'VE ALL SUNG WITH THE LEGENDS AND BETTE
WAS BOTH WHITNEY HOUSTON AND BETTE MIDLER’S MUSICAL DIRECTOR. I MET THEM ALL AT VARIOUS STAGES, BY SEEING
THEM SING WITH OTHER BANDS I KNOW, OR DOING THEIR OWN THING. I HAD FIVE DIFFERENT
GALS IN MIND FOR THE SHOW AND THEY WERE IN THE TOP.
The set list was hand-picked from your entire catalogue. Why did you choose those particular songs?
I WANTED TO KEEP “BLISS AVENUE” SONGS THAT WERE STILL VERY FRESH TO
PERFORM, I WANTED THE SONGS FROM “LOVE TO BEG” THAT I HAVE MISSED PERFORMING AS
I TOURED BEHIND BLISS AND I CHOSE 2 OF MY FAVORITE TUNES FROM MY FIRST ALBUM
"LONELY FOR A LIFETIME" THAT I'D NEVER DONE ON FILM BEFORE. I WANTED
TO SHOW WHERE I'M AT AND WHERE I'VE BEEN BEFORE I MOVE FORWARD TO THE NEXT
STUDIO CD WHICH I'VE ONLY JUST BEGUN GATHERING LYRIC IDEAS FOR!
There is an acoustic breakdown in the middle of the show. How did that come about?
I CHOSE "SAD SALVATION" & "TELL ME I'M NOT
DRINKING" FROM “LONELY FOR A LIFETIME” FOR THE ABOVE-MENTIONED
REASON. "SAD SALVATION" WAS
ALWAYS JUST AN ACOUSTIC TUNE AND "TELL ME I'M NOT DRINKING" WAS
ALWAYS MEANT TO BE STRIPPED DOWN. THAT'S
WHEN IT HIT ME IT WOULD BE A NICE BREATHER FOR EVERYONE TO JUST BRING IT DOWN
AND SHOW PEOPLE THAT I ACTUALLY CAN GET QUIET!
:-) THEN THE SCREAMIN’ SIRENS
SHOWED UP AT REHEARSAL SAYING THEY'D MADE UP A PART FOR “SAD SALVATION” AND
SANG IT FOR ME. I WAS FLOORED. FLOORED TO TEARS.
You closed the show with two cover songs. Tell us about those choices.
"DON'T LET ME DOWN" IS A SONG MY CHARACTER, "SADIE"
SUNG IN THE JULIE TAYMOR BEATLES FILM "ACROSS THE UNIVERSE." SINCE I STARTED TOURING AFTER THE FILM
RELEASE, AUDIENCES ALWAYS REQUESTED THIS SONG SO I'D DO IT A CAPPELLA FOR THEM
AND THEY'D SING ALONG. I FIGURED NOW
THAT I HAD TWO GUITARS, KEYBOARDS AND THE BACKING VOCALS, THIS WAS THE TIME TO
BLOW IT OUT WITH A FULL BAND! IT WAS SO MUCH FUN.
"I'VE BEEN LOVING YOU TOO LONG" BY OTIS REDDING IS ONE OF MY
FAVORITE LIVE PERFORMANCES OF ANY SINGER.
IT GOT ME INTO SOUL MUSIC AND REINFORCED MY DESIRE TO PURSUE MY MUSIC
DREAM. THAT SONG STARTED IT ALL FOR ME
AND I'VE ALWAYS WANTED TO COVER IT. I
DID IT ON MY 2011 CD "LOVE TO BEG", BUT I DON'T DO IT LIVE VERY
OFTEN. AGAIN, WITH A FULL BAND I KNEW I
HAD TO MILK THE MOMENT AND UTILIZE HAVING PETE LEVIN ON THAT HAMMOND B3!
"Live in NYC" and the companion DVD "Live From
NYC" from 2005 are still among your best selling releases. How will "Songs From The Road"
compare or surpass the former?
IN COMPARISON, I ONLY HOPE PEOPLE WILL LIKE “SONGS FROM THE ROAD” AS
MUCH AND ALSO SEE THE EVOLUTION IN THE MUSIC AND THE PERFORMANCE. I WAS MUCH MORE INSECURE WHEN WE SHOT
"LIVE FROM NYC!" AS FAR AS SURPASSING, I SUPPOSE THAT'S UP TO THE
LISTENER AND THE GROWING AUDIENCES. I'D
BE INTERESTED TO HEAR THEIR THOUGHTS ON THAT!
When looking back at your body of work exhibited in a compilation live
album with a full length concert film what comes to mind?
PAIN. JOY. DISCOURAGEMENT. HOPE.
THE FULL GAMUT OF EMOTIONS THAT HAVE ACCOMPANIED ME ON THIS LIFE LONG
ROAD.
Thank you so much for taking the time.
Do you have any parting thoughts?
JUST AN ETERNAL THANK YOU TO ALL OF THOSE WHO ENABLE ME TO DO WHAT I
DO. NAMELY THE AUDIENCES WHO COME TO
SHOWS AND BUY THE MUSIC. THEY ARE THE
CORE OF THIS, OF ME REALLY. I HAVE TO
LAUGH WHEN SOMEONE THANKS ME FOR A GOOD SHOW BECAUSE I FEEL I'M THE ONE WHO
NEEDS TO BE THANKING THEM. :-)
Photos: Jim Belmont
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