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Articles:Uno Maas - May 1997: Difference between revisions
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(Created page with "{{DISPLAYTITLE:Uno Maas - May 1997}} '''It's my Party and I'll Cry if I Want to: An Interview with Mark Eitzel'''<br> Publication: Uno Maas<br> Author: Jim Saah<br> Date: May...") |
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Eitzel: It was more of a friendship experience. He came to San Francisco with the idea of maybe I would play on one of his songs and he would play on one of my songs. We didn't expect to write all of these songs together -- so it was kind of a really great thing to do. It was really very fun. | Eitzel: It was more of a friendship experience. He came to San Francisco with the idea of maybe I would play on one of his songs and he would play on one of my songs. We didn't expect to write all of these songs together -- so it was kind of a really great thing to do. It was really very fun. | ||
UM: Your first solo record, ''60 Watt'', was more jazzy or adult contemporary and the new record seems to have a return to a more pop sound, like ''[[San Francisco]]''. | UM: Your first solo record, ''60 Watt'', was more jazzy or adult contemporary and the new record seems to have a return to a more pop sound, like ''[[San Francisco]]''. | ||
Eitzel: Well, the weird story about ''60 Watt'' was I spent a lot of time arranging the music and trying to work it out because I wanted a different sound than AMC. I'm kind of anti-rock these days. But, after I was done with that record I kind of went, "Oww, yuck" and I toured it and I thought, "Geez, if I ever hear another fucking trumpet solo in my life, I'll kill myself." And then after that I made another solo record called, ''[[Caught In A Trap And I Can't Back Out | Eitzel: Well, the weird story about ''60 Watt'' was I spent a lot of time arranging the music and trying to work it out because I wanted a different sound than AMC. I'm kind of anti-rock these days. But, after I was done with that record I kind of went, "Oww, yuck" and I toured it and I thought, "Geez, if I ever hear another fucking trumpet solo in my life, I'll kill myself." And then after that I made another solo record called, ''[[Caught In A Trap And I Can't Back Out 'Cause I Love You Too Much, Baby]]''. And that one probably will be released at the end of the year on Matador. | ||
UM: Didn't you collaborate with someone from Sonic Youth or someone on that? | UM: Didn't you collaborate with someone from Sonic Youth or someone on that? | ||
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I don't like playing out live as a solo artist. A lot of the new songs are so quiet that people have to shut up if they want to hear them. So it's a situation that I can't play a lot of new songs. Just because I play so many and... the only time I've ever played all of my new songs was at South by Southwest. A bunch of people kept shouting for the older songs so I said, "Okay. Here. Fuck you." And that was kind of weird. | I don't like playing out live as a solo artist. A lot of the new songs are so quiet that people have to shut up if they want to hear them. So it's a situation that I can't play a lot of new songs. Just because I play so many and... the only time I've ever played all of my new songs was at South by Southwest. A bunch of people kept shouting for the older songs so I said, "Okay. Here. Fuck you." And that was kind of weird. | ||
UM: Were you with a band there? | UM: Were you with a band there? | ||
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I don't distrust their motives. It's just that, essentially, if you deal one to one with someone and you play them a song, they'll be like, "Okay, that's great. That's funny." But they're not going to be like... I don't know. It's not instantly a soul thing, and that's really what I'm interested in doing. Because I think when I write a song for myself or I write a song for an audience, I want to change my life, and I want to change other people's lives. And to do that I write these protest songs about betrayal and heartache and loss. And I might do too much, and I've got that awful kind of whine in my voice, that plaintive aspect to it. And who knows where that comes from. I don't really like to analyze it too much. I like doing what I do. I think it's really good. And I like hearing people who do it. That's the biggest way you connect. | I don't distrust their motives. It's just that, essentially, if you deal one to one with someone and you play them a song, they'll be like, "Okay, that's great. That's funny." But they're not going to be like... I don't know. It's not instantly a soul thing, and that's really what I'm interested in doing. Because I think when I write a song for myself or I write a song for an audience, I want to change my life, and I want to change other people's lives. And to do that I write these protest songs about betrayal and heartache and loss. And I might do too much, and I've got that awful kind of whine in my voice, that plaintive aspect to it. And who knows where that comes from. I don't really like to analyze it too much. I like doing what I do. I think it's really good. And I like hearing people who do it. That's the biggest way you connect. | ||
UM: Is honesty a big part of it? | UM: Is honesty a big part of it? | ||
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Eitzel: I usually embellish real things. Usually, I just see people on the street or I meet people that I don't really know, and I just make up stories about them. | Eitzel: I usually embellish real things. Usually, I just see people on the street or I meet people that I don't really know, and I just make up stories about them. | ||
UM: The AMC song, "[[Can You Help Me | UM: The AMC song, "[[Can You Help Me]]" is a positive, hopeful song. It seems like you apologize in the line, "I can't believe all the stupid things I'm saying now." Having a chorus of, "Loving you is the only thing that's going to get me by." That's a great notion, and its an old notion, but did you feel you had to apologize for it because you were embarrassed by it, by throwing in the other line? | ||
Eitzel: Sure. We live in such a day of irony and cynicism, I think unless you cop to the fact that you're singing a fact that's completely open... Well, that's also the kind of person I am. | Eitzel: Sure. We live in such a day of irony and cynicism, I think unless you cop to the fact that you're singing a fact that's completely open... Well, that's also the kind of person I am. | ||
Somebody asked me about the [[Peter Buck]] record and "[[Free Of Harm]]". It goes, "I'll keep you free of harm, I guess that's because I'm a little shallow." Which is sort of a funny ways of saying, "Yeah, I guess I'm stupid, I'll... protect you!" You know? And I guess that's just the way I am, more than anything else. I've lived with cynicism and irony and I don't trust them, but I think you have to cop to it. | Somebody asked me about the [[Peter Buck]] record and "[[Free Of Harm]]". It goes, "I'll keep you free of harm, I guess that's because I'm a little shallow." Which is sort of a funny ways of saying, "Yeah, I guess I'm stupid, I'll... protect you!" You know? And I guess that's just the way I am, more than anything else. I've lived with cynicism and irony and I don't trust them, but I think you have to cop to it. | ||