Monday, December 21, 2009
âI didnât have any grand plans for a solo career, as such â Iâve really just kind of developed slowly and organically,â offers Kevin Mitchell, the artist occasionally known as Bob Evans, before confessing that the reason he âwanted to do stuff as âBob Evansââ was so he could draw his own specific audience to the distinctly different songs he was writing for himself, rather than for Jebediah, the indie band heâs fronted as singer and guitarist since 1994. âPeople could find me without having that âJebediahâ thing in their heads,â he says. But I suppose Iâd really ought to backtrackâ¦
Spector of Christmases Past
Thereâs a rather spiffy sounding Christmas show playing the Sydney Opera House Tue 22and Wed 23 December called Happy Xmas (War Is Over), based on Phil Spectorâs legendary Christmas album A Christmas Gift For You. Well, thatâs the point of departure: the classic album the genius producer put together featuring his most successful artists at the time â Darlene Love, The Ronettes, Bob B. Soxx and the Blue Jeans and The Crystals. That was around about when Spector was, as Tom Wolfe dubbed him, âthe first tycoon of teenâ, rather than, as a jury more recently found him, guilty of second-degree murder. His Christmas album, released 22 November 1963 â the day of President Kennedyâs assassination â was and remains a classic release that, like so much of his work, inspired many peers. The Beach Boysâ Brian Wilson was in thrall to Spectorâs studio work â the so-called âwall of soundâ created by massed musicians and vocalists. He borrowed from the Spector blueprint for many of the Beach Boysâ hits â and they released their own Christmas album Christmas Harmonies.
The Beatles also found Spectorâs work inspirational. It was unto Spector that John Lennon entrusted the dispiriting Get Back tapes. After much studio editing and the overdubbing of choirs and orchestras, they were issued as the Beatlesâ swansong, Let It Be. While the Beatlesâ label, Apple Records, would reissue A Christmas Gift For You (with a different cover â and title: Phil Spectorâs Christmas Album ), both John Lennon and George Harrison would work with Phil Spector during their initial post-Beatle years. Harrison even wrote the song âTry Some, Buy Someâ for Spectorâs wife, Veronica (or âRonnieâ â hence the band name The Ronettes). Of course, John & Yokoâs Phil Spector-produced Christmas single of 1972 was âHappy Xmas (War Is Over)â â from which these Sydney Opera House concerts take their name.
So, back to the show. Following a great tradition of an Aussie all-star cast recreating entire albums on stage, the line-up for Happy Xmas (War Is Over) includes the likes of Tim Rogers, Bob Evans, Paul Dempsey, Jade MacRae, Mahalia Barnes and Gin Wigmore delivering the Spector Christmas album â plus a bunch of other Christmas songs. So of course, the obvious course of action is to try and interview someone. Tim Rogers, my first choice â as a You Am I fan from my student days, when most of the band lived in Newtown and theyâd play Sydney Uni regularly â is unavailable, but Bob Evans is up for a chat.
First thingâs first: time for some close listening to his most recent album, Goodnight, Bull Creek! I pay a visit to an old mate Nigel, who still owns and runs Sandyâs Records in Dee Why to discover he still has a copy of the limited edition two-disc version which includes the eight-track Morningâ Richmond! Live at the Corner Hotel. As I hand it to Nigel at the counter, a very chatty lady who happens to be Christmas shopping asks, âso whatâs Bob Evans like?â Before I start explaining, Nigel â an example of a fast disappearing type of music shop owner worth his weight in rare, valuable, pink label pressings of early Island releases who can provide the sort of info off the top of his head for which a newer breed of surly, sullen shop assistant has to google or consult an iPhone app. â steps in: âHeâs a fine songwriter from Western Australia who was in Jebediahâ¦â Lady Chatterly, not so down with the peeps, quips, âThey must be a bit before my time!â (Shellac 78s were not quite before her time â but close! â god bless!)
ââKevâ,â he says, laughing. âYou can call me âKevâ.â
In the late-â90s, Kev found himself writing songs on his acoustic guitar. âThey werenât Jebediah songs,â he says, âbut I wanted to perform them. So I decided Iâd start doing some gigs. I didnât want to do it as âKevin Mitchell from Jebediahâ. I wanted to give myself a name so that people wouldnât come expecting to hear Jebediah songs.â
According to Kev, âthe âBob Evansâ thingâ comes from a T-shirt he used to own â possibly, according to some sources, endorsing a chain of American âhomestyle cookingâ restaurants that also bear that name. Whether or not said shirt is connected to the Bob Evans restaurant chain, Kev was wearing it the day he needed to add his gig to the gig listings in the local street press. âIt was literally the first name that I saw. I said, âIâll be Bob Evansâ. When I chose the name for that first gig, I didnât know if Iâd even do another one.â
But that was a decade ago now â three albums later, Bob Evans is alive and gigging. The question is how does a song writer who leads a band as well as a solo career delineate between âsoloâ songs and âbandâ songs?
âI write a song on an acoustic guitar and as I develop the song I decide where Iâm going to put it,â Kev explains; âwhether Iâm gonna present it to the band or whether it sounds like a Bob Evans song.â Of course, he points out, a lot of Jebediahâs material is written by the band when theyâre âall in a room togetherâ. Only occasionally will he write a song at home that âfeels like a Jebediah song, not a Bob Evans songâ. Also worth noting, according to Kev, is that Jebediah and Bob Evans have both evolved and developed so much that the sort of music they now produce can and does have âmoments that overlapâ¦ probablyâ.
âWhen Bob started out, it had to be acoustic-based. It fitted into a narrow kind of world. It was the same with Jebediah. But these days, both Jeb and Bob are capable of doing virtually any kind of song and making any kind of sound. Theyâre getting close â certainly a hell of a lot closer than when it started â and that could continue to happen.â
If the musical concerns of âJebâ and âBobâ overlap, itâs because Bob Evans really developed during Jebediahâs hiatus following the 2004 album Braxton Hicks. Bob may have come into being in the late â90s, but his first album, Suburban Kid â a collection of songs embodying âyouthful instrospection, love and lossâ â was released in 2003. In 2006 a bunch of Bob Evans demos, discovered by record label Capitol, were considered so good as to warrant a new album. Kev sent the demos to some of his favourite producers around the world and was contacted almost immediately by Nashville producer Brad Jones â (his previously clients include Josh Rouse, Yo La Tengo and Sheryl Crow) â who went on to produce the ARIA Award-, Australian Music Prize- and J Award-winning Suburban Songbook. Goodbye, Bull Creek!, name-checking the Perth suburb in which Kevin Mitchell lived as a kid and ending the so-called âsuburban trilogyâ, was also produced by Brad Jones. Itâs a heavier, rockier album and the best Bob Evans offering yet. Kev says that with this rock album, heâs âsaying goodbye to the suburbsâ:
âI feel like Iâm not so much putting the book away, as closing a chapter, so to speak. Iâm closing a chapter and moving onto the next one. Bull Creekâs always going to be the place that I came from and grew up as a kid and all that stuff, but with this album, Iâm feeling a little bit like it was time to move on and let go of things. Youâre probably going to ask me for specificsâ¦â
Ha! If I was â and the temptation was there â Iâm not now. Kev clearly doesnât want to give specifics. He does, however, reveal that he is in the process of recording the next Jebediah album with the band. So of course, by now, Jeb and Bob have influenced each other, and may just have more in common now, than they had, different, to begin with.
Indeed, rather than the specifics of âputting away youthful thingsâ, so to speak, Iâm more interested in what it was like to be recording in Nashville. Did Kevin Mitchell ever, as that 13-year-old kid taking guitar lessons long enough to learn the chords to Nirvana and Ratcat songs ever in his wild dreams imagine heâd be in Nashville recording some day?
âNo,â Kev admits. âGod no. Not at all. I couldnât even tell you for sure if Iâd heard of Nashville back then. Iâd like to think I was aware that there was a place called Nashvilleâ¦ But yeah, itâs unfathomable. Being able to go to Nashville twice to make records, itâs a pretty magical experience. It rates right up there with some of the best things that ever happened to me.â
Of the series of events that led to Brad Jones producing Suburban Songbook and, more recently, Goodbye, Bull Creek! Kev considers it âone of those freaky times in life where everything falls into placeâ. Perhaps itâs a result of hindsight but, he says, it felt like âit was the right thing to doâ â as though that initial album was âdestined to be successful in some wayâ. Admiring Jonesâs work, Mitchell was prepared to record âanywhere in the worldâ Brad was placed â it just so happened he was based in Nashville, which is the perfect place to go and make this kind of record.â
Nashville certainly brought the best out of Bob Evans for this record. Or at least, Brad Jones brought the best out of Kevin Mitchell: âWhat a producer can do is take what youâve got, understand what you really want to do and point you in the right direction,â Kev explains, using the beautiful âPower of Speechâ to illustrate his point. Itâs in the style of âbossa novaâ (a Portuguese term meaning ânew trendâ, initially used to describe a kind of samba-based musical genre that appeared in Brazil the late-â50s), so its breezy, up-tempo jazz feel makes it stand out.âI wrote the music and it was in the bossa nova time signature. Then I wrote the words and demoâd the song.â As with all the demos given the âthumbs-upâ by Brad, it was considered for the album and worked on during the pre-production phase of the recording sessions (Kev: âa fancy way of describing me and Brad playing through the songs, turning âem inside outâ), at which point â Kev adopts an American accent to quote â Brad said, âThis songâs great, and the way youâve recorded it, itâs kind of like how a Hawaiian would play it. But if you were going for a real bossa nova thing, you would kind of play it like thisâ¦â and demonstrated on his guitar. âHe pretty much played my song back to me, finger picking all these Latin jazz chords,â Kev recalls. âI was like, âThat is exactly how itâs supposed to sound!ââ
As well as helping an artist realise the vision, creating â or literally âproducingâ â the sound that, up to that point, only really existed in the musicianâs head, a good producer challenges a good musician to progress. âI had to re-learn how to play my own song and it took days of just playing constantly, because that style of playing was so foreign to me,â Kev admits. âIâd never played anything like that before. It was a real struggle but it turned out to be one of my favourite songs on the record because of that.â
Although Kevâd âlove to do more bossa nova songsâ, he suspects that if he attempts to write another, itâll just end up sounding the same as âPower of Speechâ. âSo,â he concludes, âmaybe thatâs where my exploration of bossa nova will endâ.
Also contributing to the beauty of âPower of Speechâ â along with perfect percussion and flutes â are the harmony vocals of Melissa Mathes, originally brought in to contribute to the wistfully beautiful ballad âWinter Songâ â which Kev had intended to be âa true duetâ after demo-ing. âBrad had two different people he knew with different vocal styles. I picked the one that sounded the best to me.â Meliss proved so âfantasticâ on arrival that she contributed to a couple of other tracks. âWe werenât intending on having any female vocals on âSomeone So Muchâ,â Kev admits, âbut we were working on it when she arrived and ended up singing on the end of that song, as well.â
I do feel as though I hear distinct influences on other parts of the album. Guitar tone, production values and backing vocals on âNuthinâs Gonna Tear Me Awayâ suggests the Electric Light Orchestra â or at least Jeff Lynneâs production of the Traveling Wilburys. That feel is also present in âPasha Bulkerâ, a song that seems to speak of the end of a relationship through the metaphor of the massive ship that ran aground on Newcastleâs Nobbys Beach in 2007. In fact, I would go as far as to say a lot of guitar tones â slide, twangy rhythm, warmly distorted lead â as well as the downright âBlue Jay Wayâ-type backing vocals of âBrother, O Brotherâ, are George Harrisonesque in the extreme. When Kev says towards the end of the albumâs sleevenotes that he bought himself a copy of Harrisonâs All Things Must Pass â (âa wonderful record that has taken me far too long to finally purchaseâ) â I suspect he might be a bit of a fan.
âIâve been a big Beatles fan for ages,â Kev confirms. âThereâs probably been a bit of George Harrison stealing on the last two records that Iâve made,â he says, but Iâm quick to point out the correct word is âhomageâ. âYeah, âan homageâ â thatâs a much better way of putting it. Heâs got a pretty distinctive style, so itâs pretty easy to hear it when itâs being copied, I guess.â
On the Record
âI buy a lot of CDs,â Kev informs me. âI have a relatively small record collection. These days I download a lot of songs off iTunes. I call myself a music fan, not so much a collector.â Though not an avid record buyer, he certainly does âlove the aesthetics of vinylâ, and so ânodsâ to âold school vinylâ in the CD artwork design. âIâd love my records to be released on vinyl, but itâs just so difficult to get a record company to do it these days.â
The sleeve notes, edited from the blog Kev was maintaining while recording the album, were inspired by an album called Dear Catastrophe Waitress by Scottish indie band Belle & Sebastian, whose sleeve contained one of the bandmembersâ diary entries. âI liked the idea of having a bit of text in the booklet, giving something more for people to read or give them a different insight into the record.â Kev says it âalso made sense on a purely artistic levelâ to include pictures containing âan almost âchildrenâs storybookâ qualityâ with the text.
The images are illustrations â given depth with watercolours â showing Kevin Mitchell with various cute animals. They are accompanied by âstorybookâ captions: âBob ran into Badger at Melrose Billiards, where they shared a quiet pintâ. Turns out, the images began as photographs, inspired by one of Kevâs Perth mates â Andrew Christie, the photographer credited in the sleeve, I assume â whoâd âfound this taxidermistâ with âhundreds of all sorts of animalsâ:
âIt was his idea to get these stuffed animals out and to take photos of me with them, in realistic situations. Thereâs a camel and thereâs a little donkey. But the photos didnât get the feeling across, so I came up with this idea of getting an illustratorâ¦â â Karenna Zerefos, according to the sleeve â ââ¦to do illustrations of the photos that weâd taken. It worked beautifully.â
It does work beautifully. What with the splashes of watercolour throughout, the captions and the images themselves suggest â and I use the term in inverted commas â âpsychedeliaâ. Of the British variety. See, British psychedelia â unlocking the inner visions of the mind and soul â tended so often to reflect childhood toys and memories, vintage clothing and the Victoriana of World War I army uniforms (before moving on to the eastern mysticism of the exotic lands once owned â and then lost â by the British Empire) because LSD and its ensuing âacid tripâ tended to encourage its users to mentally revert to a more playful, childhood state. The childhood of a mid- to late-â60s musician was all about ârooting aroundâ nanaâs house, where pictures of her favourite poor brother Wilfred â who died before his time in battle at Ypres or The Somme or some other theatre of battle from the âGreat Warâ â sat atop a mantle. One of the seminal records of 1967 was the Beatles single âStrawberry Fields Foreverâ with âPenny Laneâ on its flip side, one inspired by John Lennonâs childhood reminiscences, the other, by Paul McCartneyâs. Pink Floydâs first album, Piper At The Gates Of Dawn â on which ballads about travelling by âBikeâ share grooves with songs about travelling into space â takes its title from the heading of one of the chapters of Kenneth Grahamâs seminal none-more-English-kidsâ-book Wind in the Willowsâ¦ The artwork of Goodnight, Bull Creek! â particularly with its badger â seems, at least in part, to suggest all this to me. And Kevin doesnât automatically dismiss this theory.
âBoth my parents are English,â he says. âI was probably given quite an English style of up-bringing â all the books that we had were English books. Time and time again, there are things I find myself doing unconsciously that people point out have this British connection, so there must be something to say for it, whether itâs in your bloodâ¦â
Quite an in-depth look at Goodnight, Bull Creek! in a relatively short interview. Before I let Kev go, we should at least mention Happy Xmas (War Is Over), the reason I now own a copy of Bob Evansâs latest and â to date â greatest offering.
Happy Xmas (War is Over)
Thatâs pretty cool â and that Tim Rogers is a clever guy â not only choosing a fine and fellow-talented musician with whom to collaborate, but also one who can give good interview in his own absence. (So we both owe Tim a favour.)
âItâs going to be the Phil Spector record from start to finish in the first set, with different people singing, and the second set is a mixture of different Christmas carols and modern Christmas pop songs. Iâve never stepped inside the Opera House before, so yeah, this is a pretty unique opportunity for me.â
Nice. Iâm tempted to ask whether, in addition to the obvious show-closer, John & Yokoâs âHappy Xmas (War Is Over)â, the second half might also include Paul McCartneyâs âWonderful Christmas Timeâ or, at Kevâs insistence, George Harrisonâs 1974 festive season single, âDing Dong, Ding Dongâ. But I don't wanna push it.