Freelance Writing: One Perspective

Many years ago, I was having a drink at a party with a good friend of mine, a writer with a decade-long track record at places like GQ, Rolling Stone and other major magazines. Someone sidled up, introduced herself and — as people always do in New York — asked us what we did. We told her we were magazine writers. Well, she wondered, what was the most important talent for someone in the business?

Neither of us hesitated.
Almost in unison, we answered: “Accepting rejection and moving on.” The line must have seemed scripted. It wasn’t.

To me, the most important skill a freelancer can hone is the ability to take being rejected — or being ignored — by an editor and move on, whether it’s to offer that editor a new idea or that idea to another editor. There are those wonderful exceptions. My first New York Times assignment came during an initial phone call intended merely to check an editor’s name. But I think freelancers underestimate the work necessary break into a good market and give up too easily. Remember, John McPhee suffered fifteen years of rejections before his byline appeared in The New Yorker.

 

I’ve long been a contributor to American Way, American Airlines inflight magazine. The good folks there have flown me all over the world — Toronto, St. Lucia, Paris, London, San Francisco, Seattle, Phoenix — on well more than 100 stories over the years. An American Way editor assigned my first magazine story when I moved from newspapering to freelancing. He then rejected my next 11 ideas.

I’ve often wondered what I’d be doing now if I hadn’t sent that twelfth idea.

The same story is true for Smithsonian magazine. My third query netted an assignment. The next 11 were rejected before I got a cover piece. Since then, I’ve written nearly 40 pieces for the print and online versions.

So how’s that for a cheery introduction to a handout about freelancing?

Now, for a few basics. First, a disclaimer: this is one writer’s view of shaping a career. There are an infinite number of other ways to do it, depending upon what you want to write and where you want your byline to appear.

There are three pillars for building a career working for magazines and online publications: writing ability, marketing ability, and identifying and framing stories that sell. You need to be good at all of them.

I’ve seen a remarkable number of writers who think getting assignments is all about marketing. Just find the right markets, get a few good contacts and you’ll have work. Well, at a certain level that may be true. There’s an endless demand for competent work. But never forget that the better a writer you become, the more editors will be calling.

Other writers are creative thinkers and beautiful stylists, but they don’t understand it’s necessary to work just as hard on the marketing end. You’ve got to keep banging on doors until they open or your head wears out from the pounding.

Finally, I’ve come to realize that identifying and framing a story in a way that’s appealing to an editor is a skill we often ignore. Too often, writers mistake subjects for stories. Too often, they don’t do the work on a query to find the details and the angle that entices an editor.

Before I talk about writing, I want to mention reading. Read good work. Pretty basic, right? But sometimes I think writers get so engrossed in selling that they forget the best way to become a better writer is to read stylish prose. So check out Charles Pierce in Esquire or Tom Junod in ESPN (and, before that, Esquire). Sample Kathryn Schulz, James Stewart, Elizabeth Kolbert or David Remnick in The New Yorker. Or Robert Draper, John Branch, and Dan Barry in The New York Times. Sample longform.org or Aeon or The Atlantic online or Longreads. Check out Jim Robbins on Yale 360. Dive into books by Michael Lewis, Robert Moor, Katherine Boo, and Lauren Hillenbrand. Whatever your tastes.

Beth Kephart, who wrote “A Slant of Sun,” an achingly beautiful book about rearing a challenging child as well as numerous others, likes to say that a good writing day usually follows a good reading day.

Ideas are currency. Some magazines will assign you stories generated in-house, but if you’re a freelancer part of the fun is controlling what you write. So organize a system for collecting ideas. I use a database program called Evernote, both to organize notes for stories and ideas for queries.

Research your markets with the same zeal you would an in-depth story. There are more markets out there than you can imagine and a lot of them pay more than you can imagine.

Understand, too, that much of your research will end up being discarded because the magazine isn’t right for your writing or the idea. I can’t emphasize this enough: reading a magazine as a writer intending to market ideas or clips is different from reading it for pleasure. Look hard at the kinds of stories a magazine runs. Be honest about whether your style fits. For instance, not all women’s magazines are created equal. Each one appeals to a slightly different demographic. If you’re targeting a major magazine like Discover or Smithsonian or Esquire, subscribe and consider reading back issues online.

When I moved from being a newspaper staff writer to a magazine freelancer, this was the biggest and hardest lesson I had to learn. It’s not enough that something is newsworthy for a magazine. It has to right for the readership at the time.

So you’ve got an idea. Now what?

Establish a realistic pecking order to queries. Aim high, but also shoot a few at more likely markets so you have work. A few years ago, a writer friend and I decided to separate our markets into what I’ll call 76 Truck Stop markets and Holy Grail markets. The truck stop markets are easy to pull into, let us do stories we like for little hassle, pay well and don’t grab all rights so we can resell. The Holy Grail markets (Atlantic Monthly, Smithsonian, New York Times Magazine) are long shots that require a lot of effort to reach. Rather than pitch many of them, we decided it was wiser to concentrate on one (or maybe two) at a time in an attempt to establish a relationship with editors.

Spend time crafting a good first query to a new market. There is a remarkable amount of information at your fingertips. Use it. Don’t stop at the first Google page. Go deep. Think creatively about how to approach a story.

Remember, this is your introduction. The truth is first ideas rarely hit the mark, but consider them an audition. Make the writing sing.

Send a reminder email a couple of weeks after you’ve sent a query to make sure the editor received it. Remind the editor of the query and tease with a one or two sentence description. This may seem depressing, but with new markets I’ve often found the editor never saw the query so always check in with the editor.

If you get an assignment from a magazine you like, work to become a regular. Securing even one regular gig will keep you sane, provide clips to help sell yourself to other magazines and, oh yes, pay a few bills. Work towards having three of four regular markets. Clips are credibility. Along with a well-written query letter, they are your best marketing tools.

So that’s the first part of being a freelancer: persistence. Pedigree is the second part.

It matters who you know and who you’ve written for. Build a pedigree. Having a clip from markets like The New York Times, The Atlantic, Smithsonian or a hot new online publication makes editors take your query seriously.

Getting an introduction from another writer also helps. So add people to persistence and pedigree. Network with writers. There are dozens of places online to do this as well as any number of organizations. I belong to the American Society of Journalists and Authors (www.asja.org) and have found the contacts as well as the professional advice from other members to be invaluable. I also subscribe to Freelance Success, a newsletter for freelancers with a wealth of market information (www.freelancesuccess.com).

Don’t undervalue yourself. Ask an editor if he can do better than the offered pay. Often, he can.

Do tell editors you’re looking for a steady gig once you’ve completed an assignment or two. Even before that, ask editors what they’re looking for now. Simple advice, but it often leads to assignments — or an informal brainstorming session that helps focus future queries.

If you’re interested in doing serious “issues” stories as well as features, consider pitching to some of the low-end markets so you have clips. I wish I’d done this because it seems to me the markets for these kinds of stories are either very low-end or very high-end (and hard to crack). By doing some low-end work you may build a reputation that will interest the big boys.

Market yourself. Create a Contently page with your clips. Explore online markets for writers, if necessary, like Skyword. Creating “content” – essentially doing sponsored journalism – for corporations and organizations has become huge business in recent years.

Understand the business. If you don’t know what work made for hire means, learn. The same goes for terms like “all rights,” “electronic rights,” “indemnification,” “exclusive,” “First North American Serial Rights,” and others. Most publications offer contracts. Only begin work when you have one in hand. Beware of shaky startups with vague funding.

If you’re a beginner and don’t understand the basic rules of journalism including ethics then please take a course somewhere or go to the Society of Professional Journalists web site and download their ethical guidelines. I run into too many freelancers, usually people who have never been on staff, who are clueless about the basic rules of the game.

Finally, have fun. Freelancing means you get paid to learn. What could be better?

– Jim Morrison
https://jimmorrison.contently.com/
http://www.jmwriter.com

 

 

Jae Sinnett Rearranges the Christmas Classics

When Jae Sinnett first was asked if he’d be interested in playing a Christmas show, he said sure. A day later, he thought, “What did I get myself into?”

He realized that if the straightforward jazz quartet from his latest disc, “Zero to 60,” was going to do songs “that have been played a bazillion times,” he would need to rethink those classics.

“I said, ‘Ok, if I’m going to do this I can’t go on stage and go bah, bah, bah,” he says humming the first notes of “Little Drummer Boy.” “I got really involved in reconceptualizing those classic songs in the style of the Zero to 60 Quartet. People think, oh, he’s a drummer so, of course he’s going to do “Little Drummer Boy,” but it’s not going to be like (what) they think.”

For his show at the Attucks Theatre on Dec. 9, he chose holiday favorites that were malleable. “I wasn’t’ just thinking about songs I like, but I was thinking about songs we can manipulate and make conceptually fit how we play,” he says. “In my head, I’m thinking how do these songs feel?”

“God Rest Ye Merry Gentlemen” offers a drummer a bounty of choices. A section of “Little Drummer Boy” will be played in a different time signature. “Have Yourself a Merry Little Christmas” is a jazz favorite because there’s so much harmonic variation to it, he says. “Things like that. I just tried to break things up and make it interesting, “he adds.

To make it more interesting, he decided to bring in Grammy-nominated singer Denise Donatelli from the West Coast. She will join saxophonist Ralph Bowen and pianist Allen Farnham, who played on his latest album, and bassist Terry Burrell (bassist Hans Glawischnig played on the CD). 

“I’ve worked with Denise a few times,” he says. “The most recent time was the San Jose Jazz Festival with her. She is an amazing singer. When I first worked with her, she was doing these arrangements by pianist Geoffrey Keezer. They were some of most challenging arrangements I ever played and I’ve played a lot of complicated music. Those arrangements were flat-out crazy and here she was singing over that stuff.”

“She’s a classy, beautiful singer,” he adds. “One of the greats singing this music today.”

Sinnett, who has hosted WHRV’s “Sinnett in Session” for nearly 28 years, prepared for the Christmas show with a rehearsal in August in New York with the quartet. That they were together rehearsing winter songs in the hot summer is another story. Sinnett says he never intended to record and release the music that became “Zero to 60,” his 14th album.

He writes all the time so the tunes were there when he decided to look for some new players to do a few gigs. Then one thing led to another and an album was born.

But, first, exactly how does a drummer write songs? Sinnett says it’s a common question.

“I write from the piano,” he explains. “I play a level of piano. I understand the harmony and theory behind it and I understand composition. Then I start to conceptualize all the instruments in my head.”

When he first started writing, he would sit at the piano for hours and hours working on songs. But later when he was sitting at his drum kit to rehearse, he’d have no idea what to play.

He was at a rehearsal one day with sax player Steve Wilson and pianist Cyrus Chestnut just destroying the music on the drums, making one mistake after another. “Steve Wilson stopped and said sarcastically ‘Are you sure you wrote this music,’ “Sinnett recalls. “That was a revelatory moment for me.”

He realized he needed to think about the bigger picture when he composed. “Now, the way I write, I will have a specific rhythmic foundation in mind, a rhythmic idea, a certain feel, tempo and I will develop the harmonic structure around that rhythmic foundation,” he says. “A lot of times I hear the melody first.

“There’s writing from top to bottom or bottom to top. Top down is melody to rhythm. Bottom is rhythm to melody. Lately, I’m mostly writing from the bottom to the top.”

He feels like with his newest disc, he finally got beyond his insecurities about developing melodies, “I really wanted to write melodies, themes, memorable themes,” he explains. “That’s one aspect I think I’ve developed over the past couple of years.”

Before “Zero to 60,” he’d done a series of albums highlighting different genres. But jazz beckoned.

“I wanted to play some straight-up jazz with a really good tenor saxophone player. I was thinking about the tenor players I’ve worked with like Branford Marsalis,” he says. “Ralph Bowen had always been at the top of that list. Since OTB, I’ve been a big fan of his. You kind of roll the dice and see what happens. I sent him the music and he got back with me, ‘Man, I love this. Let’s do it. Let’s play. The connection with Ralph Bowen was really the spark that got this going.”

The idea was to get together and play, not to record. “But the guys kept asking me are you planning to record this music? I was like, no. They said, ‘You should. “

 

For their sessions, he wrote out the music, but left room for improvisation. “With this level of players, you’ve got to give them room,” he says. “What they bring to the table is incredible. A lot of times they will play something I’d never have thought of.”

It also helps that the four guys genuinely like each other. “There’s an inter-activeness that is necessary on my bandstand and it starts with the personal relationships,” he adds. “These guys are like brothers to me.”

They recorded the album in two days at Bias Studios in Springfield. “I never thought they would record with me,” he adds. “I thought they would come down and do a couple of gigs and that would be it. But one thing led to another and we ended up in the studio,” he adds. “I’m glad we did. I think it’s my best jazz record by far.”

Now that he’s returned to his jazz roots, he’s not looking back. “Sometimes you feel like you need to do that and get it out,” he says, “but now that I’ve done it, I have no desire to go back and do it anytime soon. I’ve written some new music and it’s not jazz. It’s rock and funk and soul, blues and R&B, light jazz fusion. It’s a mixed bag of things, man.”

For now, though, he’s looking forward to playing his take on Christmas standards with Donatelli and the quartet, a group that’s locked, not just local musicians backing the headliner. “I just love playing with these guys and playing live with the band,” he says. “It’s such a good band. We have really good arrangements. And it’s a real band, which is rare in jazz these days.”

—end—-

St. Paul and the Broken Bones Go Deeper

stpaul2Jesse Phillips, the bass player and one of the songwriters for St. Paul and the Broken Bones, arrived home in Birmingham, Alabama, from a show in West Virginia about 7 on this morning. A couple of years into the band’s startling run as headliners, he says he still wakes up and has to normalize a life that includes appearing on late-night shows, opening for The Rolling Stones, getting a call asking it Steve Winwood can come to a show, and playing Elton John’s Oscar party.

The band burst into stardom when barely out of its infancy with “Half the City” and the hit single, “Call Me” in 2014 then returned with a more ambitious, funkier and more socially-conscious sophomore disc, “Sea of Noise.”

The new album explores deeper, stepping back to take a look at the environment, race relations, gender identity and other political themes.  Paul Janeway, the band’s lyricist, channels Curtis Mayfield and Marvin Gaye. He cites reading Bryan Stevenson’s Just Mercy: A Story of Justice and Redemption — a memoir about systemic racial inequality in the Alabama legal system — as a pivotal moment while he was working on the album. He explores issues in the songs, but doesn’t offer solutions. “I can’t tell what side I’m on / I can’t tell what’s right or wrong / We ain’t ever gonna sing one song,” Janeway sings.

 The band’s career almost didn’t happen. Phillips and Janeway, the band’s lyricist and captivating front man, had decided to make music a hobby and find adult careers. They got together in the studio for fun and those sessions quickly led to the formation of the band, including a three-piece horn section that included a couple of guys still in college.

The group comes to The NorVa on Sept. 12. Phillips swatted away the morning-after cobwebs to answer a few questions.

You guys struggled and almost quit. Tell me about that.

It was one of those things. Like a lot of people do, I’d been playing in bands since I was 15. I was around 30 by this time. Paul hadn’t been doing this for quite as long as me. But it was getting to the point where we were looking at growing up and devoting our energy to most of things do, which is usually like a career of some sort and not playing in rock and roll bands. Neither one of us was looking at quitting music. We were just sort of turning our attention to another more grown-up things. Paul was in accounting school. I’m not sure what I would have done. I have a lot of family who work in forestry up north. I would have probably done that or gone to grad school and become a librarian.

Around the end of the other band Paul and I were in together, which was called The Secret Dangers, we decided to continue working together on a for-fun basis and go into a studio here in town. We started going in once a week with an engineer playing around. The idea was just to record a few things for fun to sort of have a document of our time together, our musical friendship. That recording project ended up turning into St. Paul which turned into a real functional band which turned into a touring entity which got alarmingly serious quickly and it just seems to keep going.

I read where you met in a record store. 

Not quite. I worked in a musical instrument store here in Birmingham. The way I met Paul was through another guy who worked at the store who was a drummer. He was playing with Paul at the time.

What kind of music were you playing in the early days?

I’ve always been in rock and roll leaning bands. Some were more blues-oriented. Some were more pop oriented. But they were always certifiably rock and roll. This band is probably the furthest away from being a straight up rock and roll band I’ve ever been in. It’s fun because you have so many voices to play with in the band. A three-piece horn section. Hammond organ. All sorts of stuff.

A band out of Alabama ought to have a soulful sound. You ever think about that legacy?

We’re very aware of it. A couple of guys in the band are natives of the Muscle Shoals area. The keyboard player lives next to the Muscle Shoals in the tri-cities area. The guitar player is from Florence. They’re pretty much straight out of that legacy. They’re the next generation of guys working in that world. I came at it as an outsider, but I think because I was an outsider in some way I almost appreciated more what was happening and what had happened there than people who grew up there because they sort of took it for granted.

I’m somebody who moves to Alabama and (finds) there’s this tiny town where you can throw a rock and you can hit a legendary musician who has played on more hits than songs you know how to play. A lot of those guys still hanging out up there and they’re pretty supportive. It’s a neat thing to be graciously incorporated into that although we have a lot of proving to do before we can ever be measured on the same scale as those guys.

How was that early sound different from now?

My standard line is early on we made up for what we lacked in finesse with effort. It was always balls to the wall playing with our pants on fire kind of vibe. The band still retains some of that intensity, but it’s a more well-oiled outfit these days. There’s a little more give and take, push and pull, not everybody has to be making racket all the time.

When we made that first record we had maybe played 12-15 shows. By the time we got to the second one we had played maybe 500 shows. So a pretty substantial difference how it feels to play together.

You are a bass player in that soul tradition.

I came by being an R&B bass player accidentally. All of a sudden, you find yourself in this position and you really start listening. I like guys like David Hood and Duck Dunn from Memphis and Muscle Shoals. They made sure all the notes they played were really good notes put in just the right place. They didn’t really play too many of them. That’s a really good lesson to learn. I’m clearly still not anywhere near any of those guy’s levels, but it’s been really cool to study what they’ve’ done and try to build on that.

Tell me about the songwriting. You and Paul?

It’s more of collaborative all-the-way-around-the-band thing these days.

I think the main concern for us going into the second record was we wanted to make sure we weren’t going to be perceived as a retro soul novelty act. We kind of wanted to spread our wings and fly and explore some different territory and maybe lean on some strengths in the band we didn’t have the opportunity to explore the first time.  By doing so you establish yourself as a different kind of musical entity. After releasing our second album we can go in a lot of different directions on the third, fourth and fifth one. if we had done the first record over again with slightly more resources or fidelity or whatever I think people would have liked it, but then that would sort of been the thing we did for all time, what people expected us to so. The parameters we had to operate under would be more solidly set in stone.

I read one review that called “Sea of Noise” protest soul. I’m not sure about that, but there’s a long tradition of socially-conscious soul.

There’s a real proud tradition of making more socially conscious music, but it’s still fun. It’s still butt-shaking.

Was there a song that for you crystallized where you were going with “Sea of Noise?”

I think my personal favorite is song called “I’ll Be Your Woman.” It started out as sort of a cross between a Bill Withers vibe with a William Bell “I Forgot to Be Your Lover” sort of thing. And then it kind of took on a life of its own once Paul had the lyrics down, bending identity and changing perspectives. I feel like it came together really well. All the elements I was hoping would gel on that record did so on that song. The string arrangement adds to it and it still has this heavy rhythmic thing on the bottom end. The lyrics are excellently done. I have to give Paul props on that one.

 That William Bell record from last year (“This Is Where I Live”) is incredible. 

That guy has not lost a single step. We played the Otis Redding 75th birthday in Macon last year and we got to back him up on a tune. As soon as the guy opens his mouth, it’s a whole different ballgame. He still sounds exactly the same. This low earthy rumble comes out of his mouth. It’s rich and silky. He should be ten times more famous than he is.

 You guys opened for The Stones. You played Elton John’s Oscar party. It’s been a wild ride.

It is a funny thing. I’ll tell you why. As I said. I’m one of older guys in the band. It (success) didn’t happen until I was in my 30s. The process of resolution when you’re a bit older is different.

I definitely have had that that moment in the last couple of years where I’ve woken up and been in bed getting my brain together for the day. Ok, this is what we’re going to do. You have to go through this normalization process. We’re opening for the Stones. We’re going to play Elton John’s Oscar party. Or we’re hanging backstage with John Paul Jones. Steve Winwood’s wife called me to ask if they could see us in Nashville. I was like, of course you can.

You do have to normalize and once you get through, you’re like ‘Holy shit that was crazy’ then allow yourself to bask in the afterglow a bit. It’s been pretty surreal for me. I’d been working music retail and coffee shops for last decade.
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Randy Newman and the Great Debate

Randy_bio_s-550x360“The ‘Toy Story’ guy wrote a song about Putin.”

That popped up on social media recently about Randy Newman.

If your career in the spotlight lasts long enough, you become different things to different generations. Joe DiMaggio becomes “Mr. Coffee” not “The Yankee Clipper.” LL Cool J becomes Sam Hanna, that guy on NCIS, not a trailblazing rapper. Journey becomes a schlock rock arena act not a psychedelic jazz fusion San Francisco band of former Santana members.

It’s been nearly 50 years since Newman released his first album so it’s natural he’s different things to listeners. He’s the guy who first wrote hits for Dusty Springfield, Petula Clark, The O’Jays and eventually Three Dog Night (“Mama Told Me Not to Come”) and Joe Cocker (“You Can Leave Your Hat On”).

He’s been the guy who angered everyone with songs like “Political Science” about dropping the big one, “Rednecks” that tackles both southern and northern racism and “Short People” about a disturbed guy with an extreme prejudice against the vertically-challenged with the line that “short people got no reason to live.” With songs that evoke Cole Porter and George and Ira Gershwin, he’s earned a chapter in the Great American Songbook, albeit the one featuring satire and the wittiest wordplay.

His first new album in nine years, “Dark Matter,” was released in early August. It was an occasion because it’s only his tenth since his debut in 1968.

The opening track, “The Great Debate,” is an eight-minute suite about science and religious faith told from different points of view. There’s “Putin,” a goof on the Russian leader he began before the campaign controversies.

“When he takes his shirt off, he drives the ladies crazy,” Newman sings. “When he takes his shirt off, makes me wanna be a lady.”

He also confesses he’s written a song about Donald Trump that focuses on a part of his anatomy, but says he doesn’t want to release it and add to the vulgarity of the national debate.

 

“Randy Newman is a national treasure,” Don Henley of The Eagles told the Los Angeles Times. “He’s also probably the most misunderstood and underappreciated recording artist alive.

“He’s one of the only living songwriters who can get ridicule and empathy into the same song. Sometimes, he works in the realm of irony; other times, he’s a heart-on-his-sleeve romantic,” he said. “The combination of his lyrical genius and his deep ability as an orchestrator and composer is powerful stuff. There’s nobody quite like him.

“I said when I inducted Randy into the Rock & Roll Hall of Fame [in 2013], that what you hear in his music is America, in all its shame and all its glory…. He mines so many rich veins of American musical culture and synthesizes them in a way that nobody else has done.”

Newman has always written from the point of view of characters, not much about himself. But he knows his way around an interview. Here is Newman in his own words over the years. He was not available for an interview before his show on Sept. 13 at The Sandler Center for Performing Arts in Virginia Beach.

About his Putin song:

“I don’t think I set out to write a song about Putin but I’ll tell you, another thing that inspired it, there’s an old song in the ‘40s, by the Golden Gate Quartet, a gospel song called “Stalin Wasn’t Stallin’ when he fought the beast of Berlin.” About Hitler and Stalin. And I love it, that song. So I think “Stalin Stallin’” is what really pointed the direction to me. “Putin putting his pants on. Stalin wasn’t stallin’.”

About the difficulty of writing:

“It’s been murderous for me in some ways. I never liked writing. If you read back in interviews there’s whining and complaining. You’d think I was threading pipe for a living, rather than working in a nice room, you know? Songwriting time when you’re not thinking of anything is really slow time. I mean it’s like school, you know, where I was going “Oh, I know it’s 10:00 but I’ll guess it’s 9:30,” and it’ll be like 9:15 (laughs). And it’s because I come to the table with nothing. I sit at the piano and I’ve got nothing in my head, not a goddamn thing.”

About writing in character:

“I’ve said a number of times that songwriters ought to have the same latitude as short-story writers, where it doesn’t have to be some kind of personal or confessional thing. I was always more interested in the less-than-heroic mode. In so many songs, in one way or another, the singer is the hero of the piece … [For instance,] his heart is broken all over the place, and it’s noisy. No matter what it is, it interests me less than writing about people who are a little off in some way. And that’s not the norm.”

You can do it. When I first began writing this way, with characters in it, I always wondered why more people didn’t do it. And I think maybe it’s because it’s not a great idea for the medium [of pop music]. Maybe it’s meant to be a direct I-love-you, you-love-me kind of medium.
But you can do this other stuff and it comes off. And I have such an affection for comedy, that I like to laugh and I like to make people laugh, so I do it.”

About writing dark songs:

I have to be careful. I have to watch that my stuff doesn’t seem like I’m sneering all the time. What helps is that I’m actually not that cynical. I’ve got a song on this record, “It’s a Jungle Out There.” And I don’t think that; I don’t think it’s a jungle out there. I don’t think things are that bad. I think they’re very bad politically, but not otherwise.

About the difference between heartbreaking songs and satirical songs:

The comedy ones are harder, because you have to keep the comedy going. There are jokes in the front of it and a joke in the middle and then you have to have a funny finish. I remember once — God, I’m turning into John Prine, an old storyteller — but I remember going to hear a symphony. It was either Mahler or Shostakovich. It ended [hums quietly] bum, bum, bum-bum. I saw it with an orchestrator, and after that ending he said, “you always have to end with a ta-da!” This is a guy who named his boat Ta-Da. But that’s the thing: You have to find endings for the comedy songs in a way that you don’t for the other ones. It’s hard. I don’t know why I do it. Songwriting is not a medium that’s used much for laughter. Even fans of mine: I think they like it best when I do straight ballads like “Feels Like Home” or “She Chose Me” on the new album. But that’s not what I like best.

About writing on assignment for the movies:

“Well, “You’ve Got a Friend” is not a song that I would have written on my own, unless I were a used-car salesman or something. But I can do that. If you tell me to write a song about a monkey who falls in love with a goat, I could do it. And I’m proud that I could do it. It’s not like I’m selling out or anything. I can write to an assignment, and it’s the thing I’m most confident that I’m able to do well.”

About his long career:

“Yeah, I suppose it’s a significant kind of career I’ve had. What I’m most pleased about is that there’s no particular decline. The songs I wrote 40 years ago are no worse and no better – there’s a consistency. It’s clear they are by the same guy. I’m a little better in some aspects, but basically my style crystallized a long time ago and that’s what I’ve done.”
I was talking one time to Paul McCartney on the phone – he called me to do something for [Welsh folk singer] Mary Hopkin – and I was saying, ‘I’m trying to write… Jesus, it’s a drag.’ I was complaining as I am to you. And he says, ‘Well, you really don’t have that much to live up to anyway, do you?’ I replied, all meek and mild, ‘Oh yeah, I guess not’, but I was thinking, ‘Who’re you, shithead?’ I never forgot it.”

About what makes him optimistic:

“People as individuals. In general, I’ve found that if you sit next to somebody and start talking they’ll be pretty good. I’ve had no reason to feel differently.”

About whether he thinks about his legacy:

“No. I only know that if my obituary doesn’t start with something like “Newman broke a hip in January” it’ll start with “the composer of ‘Short People.’” That’s the way it goes.”

 

 

–end—

Jason Isbell: Stories for Listeners

jasonisbell4 I used to think that this was my town
What a stupid thing to think
I hear you’re fighting off a breakdown
I myself am on the brink


I used to want to be a real man
I don’t know what that even means
Now I just want you in my arms again
And we can search each other’s dreams

— Jason Isbell, “Hope the High Road”

On the day after the 2016 election, Jason Isbell was at home outside Nashville caring for his baby daughter, Mercy Rose, then a few months past her first birthday. His wife, Amanda Shires, was on tour in Salt Lake City that night behind her album, “My Piece of Land.”

The presidential election results, he admits, blindsided him. He knew the choices were tough, especially for the working class folks he grew up with in rural Alabama.

So he did what he does. He wrote. He wrote to unpack his feelings, to confront and explain those things that seem unexplainable or intolerable. He thought he knew America. On Nov. 8, he realized he did not.

He was thinking about family, about what the election of a bigot and a misogynist meant for his far-away wife and his so-near daughter.

“As hard as it was for me to see those results,” he says, “I could only imagine what it was like for a wife and later on a daughter to have to explain.”
Out of that came “Hope the High Road,” the first single off his forthcoming album, “The Nashville Sound.”

I know you’re tired
And you ain’t sleeping well
Uninspired
And likely mad as hell
But wherever you are
I hope the high road leads you home again
To a world you want to live in
To a world you want to live in

“After growing up in rural Alabama in a town without a red light or a post office and traveling the word for 17 years, I thought I had a pretty good handle on America,” he says. “It turned out I was not right at all.”

 

His father works maintenance in a hospital. His mom has an office job. “My parents still work hard every day,” he says. “I’ve not made enough money to tell them they can retire. Hopefully, we’ll have some huge hits and everybody can move on up sometime soon.”

His father, he says, stood in line to vote torn by his decision. He’s been paying way too much from health care since the Affordable Care Act was passed. But he also didn’t believe he could vote for somebody like Trump, Isbell says.

 

“I hear both sides of the story,” he says. “My main concern was I feel like a lot of people who have been under represented had to ignore a lot of shitty things in order to vote in what they felt might be their own best interest. That’s what really bothers me. I can see middle class or poor working class Americans wanting somebody who is not a career politician. I can see them wanting somebody who speaks plainly and in a way that’s not coded the way political language often is. But I can’t really understand overlooking the bigotry and the misogyny.”

“So I felt like after all that went down,” he adds, “I didn

jasonisbell7

‘t know people as well as I thought I did. That was a big awakening for me.”

Isbell, who opens the season at the Portsmouth Pavilion on April 26, understands what he calls the “Springsteen conundrum:” “How do you sing about working class people when it’s obvious what kind of money you’re making?”

He’s not near that level. He doesn’t think he’s all that far removed from his roots. He lives outside Nashville, about 80 miles from his hometown of Green Hills. “The differences between how I grew up and how I live now and the similarities between those two are of great interest to me,” he says.

Isbell famously was fired by the Southern rock band, Drive-By Truckers for his drinking. Ryan Adams, Shires and his manager got him into a rehab that likely saved his life. He’s sober — a battle he talks about freely — and out in the country now, surrounded by a few musicians and a lot of working class folks, similar to the ones of his childhood and his days in school.

“So I have a lot of concern for the issues of working class people,” he says. “I think you can empathy without living like that. To deny a successful songwriter the option of writing about people who are not having success is really to deny that empathy works as a concept.”

I ask him about the line, “I used to want to be a real man; I don’t know what that even means.”

“As I got older, I stopped using phrases like “I want to be a man” or “Man up.” Look at what you’re saying. It’s pretty insulting to women,” he says. “I just started saying, ‘Try to be grown. Try to be an adult.’ Insulting to children,” he adds, laughing.

He explores working class characters and their stories on his forthcoming album, “The Nashville Sound” that gives co-credit for the first time in years to his band, The 400 Unit. Shires adds fiddle and vocals. Dave Cobb is once again handling the knobs as producer.

It’s the third in a line of stellar albums from Isbell, after 2013’s “Southeastern,” the 2014 Grammy winner for best Americana album, and 2015’s “Something More than Free,” the 2016 Grammy winner for best Americana album.

In a suite of songs on “The Nashville Sound:” “Cumberland Gap,” a rocker, “Tupelo,” a mellow reflection, and “White Man’s World,” he explores the walls closing in on working class men.

I thought about moving away, but what would my momma say?
I’m all that she has left and I’m with her every day.
Soon as the sun goes down, find my way to the Mustang Lounge.
If you don’t sit facing the window, you could be in any town.
– “Cumberland Gap”

“Cumberland Gap” is one of Isbell’s many short stories in song. “You start building a character,” he says, “and that’s how the characters behave naturally. There are people I know who have had very similar experiences and they wound up being the primary inspiration. I take three or four people I know and try to build a character. It’s not different than going about writing a novel or a short story.”

That begs the question of what Isbell was reading while writing the album. He finished in January, writing the dark “If We Were Vampires,” days before entering Nashville’s legendary RCA Studio B, the birthplace of albums by Elvis Presley, The Everly Brothers, Willie Nelson, Roy Orbison and Gillian Welch, among others.

He says he read an advance copy of George Saunders “Lincoln in the Bardo” and others. He’s been a passionate about reading since sobering up, dipping into everything from Gabriel García Márquez’s “100 Years of Solitude,” Eleanor Catton’s “The Luminaries” to Cormac McCarthy’s “Blood Meridian.”

“It’s difficult,” he says. “I try not to show my influences too obviously. I don’t want to let those find their way into too much of my material.”

Isbell named the album, “The Nashville Sound,” partly as an homage to the studio, managed for so many years by Chet Atkins, and as a way to stake his claim to the type of music made there.

jasonisbell2

Our talk is on the day after The Academy of Country Music Awards. Isbell has no tolerance for the music showcased there. “It’s obvious from last night’s awards show how much out of touch the pop country music world is,” he says.

“The Nashville Sound” reflects the kind of music still made in Nashville. While there are a few more rockers on this disc, Isbell says he never sets out to make one kind of record or another.

“Really the only thing that matters to me outside of documenting a point in time is trying to get the best songs I possibly can. That’s my guiding light.”

“The way I’ve gotten through the world and made myself happy and gotten more than I could have ever asked is early on I found something I wanted to do when I didn’t have to do anything else,” he adds. “It’s still that way. I’m very lucky.”

He’s worked at Wal Mart, in a fireworks warehouse and waiting tables. But since he started performing professionally he hasn’t had to do anything else other than play and write songs.

Among those songs are “Anxiety,” a dark tune about dealing with that fear written with Shires, and “If We Were Vampires,” a serious song with a funny title about mortality. “Maybe time running out is a gift,” he sings. “I’ll work hard ‘til the end of my shift. Give you every second I can find and hope it isn’t me who’s left behind.”

“That one caught me by surprise,” he says. “I wrote that the last day before we went into the studio. I was really proud of it. It’s really heavy and it took me a while to get through and be able to sing it without emotion.”jason77

“When you’re a kid you think something’s in the closet until you work up the courage to get out of bed and look for yourself,” Isbell told me in another interview last year. “You can spend a lot of years hollering for your dad to come do it or you can get out of bed at five years old, open the door, and when there’s nothing in there, go to sleep.

“That’s really the reason I started to write songs, to confront those things,” he adds.

“Things about my upbringing or the places that I’m from. About society in general. About personal relations. Things that were very terrifying to me until I looked them in the face and explained them to myself. They don’t scare me so much anymore.”

That’s not surprising. Jason Isbell albums are therapy, time to sit and think and ponder the big questions. He understands no radio station today is going to play songs like “If We Were Vampires” or “Anxiety” and he’s just fine with that.

“I’ve just always been somebody who listened to music directly. It wasn’t’ really a background thing. That’s what my whole life has been based on. I know a lot of people who aren’t musicians who are that way. They don’t just have music playing while they’re having a party or washing dishes or something.

“I think I kind of write songs for those people, people who like to sit down and listen to songs.”
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Singalong: Sea Level Festival Showcases First Families of Tune

Is musical talent hereditary?

The Sea Level Singer/Songwriter Festival this year is proof — proof, I tell you – there is a music gene somewhere in the recesses of our DNA. Consider the evidence for yourself when the first families of music in the area perform over two nights to benefit the Tidewater Arts Outreach.

TAO is evidence of the healing powers of music, probably something also deep in those ancestral strands. The nonprofit arranges for local artists to perform at assisted living facilities, skilled nursing facilities, residential programs, homeless shelters and other organizations – more than 250 artists for more than 5,000 people in 2015.

Those performances are a balm to residents. Research increasingly shows the benefits to mental as well as physical health for those sitting and listening or clapping and singing along.

It Runs in the Family starts with a free show at Norfolk’s O’Connor Brewing Company at 5 p.m. on Friday, March 31. Skye Zentz and her father, folk legend, Bob Zentz and his wife, Jeanne McDougall, join Zach and Megan Moats of Dharma Initiative and their father, Roy.

On Saturday, hear how far afield that gene ranges, from the blues to folk to bluegrass, at The Attucks Theatre. Show time is 7:30 p.m. Tickets are $20 in advance (it’s $4.50 more with Ticketmaster fees online) and $28.50 at the door.

The Saturday lineup is:

Bill and Pam Gurley with daughter, Macon, and guest bassist Jimmy Masters.

Bobby and Joy “Blackhat” Walters with their children, Akeylah, Maya, Shayna and possibly Ellie with special guest guitarist Tom Euler.

Lewis McGehee with his daughter, Kayce

Keith Stainback with his son, Seth, joined by Larry Berwald and Stephen Lazar.

I asked them four questions about their first performance together, about their favorite song written by the other, about their memories of singing together for the first time and a song the other likes they don’t need to ever hear again.



   Skye Zentz says she doesn’t recall the first song she heard her father, a longtime legendary folk singer, but there was a constant stream of sounds and songs from her earliest days. “There’s a very early memory I have of my Dad carrying me around on his shoulders singing the Woody Woodpecker theme song,” she says. She has old cassettes of the two of them on the front porch, singing together, making up lyrics when she was a four-year-old while he played the accordion. “Those early tapes taught me a lot about being a mindful accompanist,” she says. “It takes a lot of attention and rhythm to back up a spontaneous toddler.”

She is fond of her dad’s “He Was Just Some Old Jukebox.” “He wrote those words about Ramblin’ Conrad, but they also remind me of my Dad, himself- he knows so many songs,” she adds. She does not admit to disliking any of his tunes, but jokes that the drone from him tuning his hurdy gurdy haunts her in her sleep.


On Saturday, the Bobby “Blackhat” Walters clan takes the stage at the Attucks. The first performance by the kids, then ages 7 to 13, came at a school talent show when they sang “Lean on Me” acapella, creating rhythms with hand clapping, knee slapping and stomping. As kids they sang and acted out musicals including Disney’s “The Jungle Book,” “Beauty and the Beast,” “Pocahontas,” “Aladdin”, and the High School Musicals. The family sang together from the time the kids were babies and then at religious ceremonies. The children have played various musical instruments including piano, guitar, drums, bass, ukulele, saxophone, bongos, clarinet, flute, mandolin, recorder, and violin.  Bobby is the only harp player.

The kids remember mom singing “All Night All Day” at bedtime and dad singing “Let My People Go” at the top of his lungs “for god knows why.”

Ellie also remembers her dad’s worst moment. “Most annoying song is “Too Legit To Quit” by MC Hammer,” Ellie says. “The only time I think I was embarrassed by my dad was him singing that dang song in his parachute pants walking through the mall torturing me at 15.”

On the flip side, “Help Me” is her favorite song sung by Bobby. “I got to see that wonderful in love look between my parents that I saw since I was a kid. That flirty big eye attitude lovey look that my mom has only for my daddy when he would sing it on stage,” she says.

For Maya, it’s “Honey Biscuit,” “the sweetest, most precious love song ever written (by my dad).”


Kayce McGehee, who performs under the name Kayce Laine, now lives in Nashville, where she is building a solo career playing indie electro pop music.  Her father is one of the deans of local acoustic players.

She remembers her father recording “Distant Voices” just after she was born in 1988. “A lot of the tracking was done at our home studio so some of my earliest memories of life are of him singing and playing those songs. “Looking at the Headlights,” “Walking Away”….all of the songs on that record bring me back,” she says. He remembers her singing Disney tunes and realizing she had talent.

Let Kayce explain the favorite that her father penned: “I would probably have to say “Growing of Grass” for a number of reasons: 1. I think the song itself is brilliant from the lyrics to the chord changes 2. It’s a song that I have performed with him and also covered of his for over a decade now 3. All of my sisters have, at one point, wanted to get the lyrics tattooed on our bodies (none of us have actually done this…yet!) and 4. We just got done recording it in Nashville a few weeks ago and will finally have an incredible version to share with everyone in just a few more weeks.”


   For Lewis, his favorite Kayce song is “5 AM Light,” a synth-heavy electronic pop song from her debut EP, “Lucid.” “I think it showcases her multiple talents of songwriting, singing, piano playing and production,” he says.

Their first public performance together, Kayce says, was when she was still a child. “The first gig we did together was me singing an Alabama song, “Angels Among Us,” with him for some sort of convention or fundraiser when I was 7 or 8. For whatever reason, I didn’t like the spotlight when I was young so I usually got ice cream or some sort of treat for getting up and singing with him. Now I ask for money :),” she recalls.

Lewis remembers that day. “Kayce was singing it around the house and I thought “She sounds waaay better than me doing this” so I drafted her to join me.”

There is one song her father favors that Kayce has heard enough. “Dad has taught every single guitar student “Good Riddance” by Green Day since it came out in 1997 so I’ve probably heard him play and sing that song thousands of times,” she says. “Now, I definitely wouldn’t say that he loves this song, but he loves TEACHING this song and I can safely say, I would be totally fine if I never heard it again.”


Keith Stainback, the father of blues rocker Seth Stainback of Roosterfoot, remembers his son singing around the house and at church from the time he was a toddler. But one day stands out. “I don’t remember the first song I heard Seth sing, there were so many. He would sing around the house from the time was a toddler. Mostly songs from church, or songs he’d hear his mom sing,” he says. “I do remember one day I was sitting on the deck when we lived in South Carolina. Seth was around 16 years old. He walked up with his guitar and said he had just finished writing a song and would I like to hear it. Now I knew that he could sing and was already a good guitarist, but after he played me the new song, I realized he also had a gift for songwriting.”

His favorite is “Earth & Worm,” the title cut off the band’s full-length album. “I’ve always loved “Earth & Worm.” It’s a great song and it’s about family,” he adds. “Now, the song “Reckless” off the new Roosterfoot EP gives me goosebumps every time I hear it. Again, there are so many good ones, it’s hard to choose a favorite.”

They started playing together down below and eventually made it to higher ground. “Seth and I spent many, many hours jamming in the basement at home,” Keith says. “I’m pretty sure the first time we played in public together would have been with the band at church. We played a show together at his high school, which would have also been one of the first public times.”

While their tastes are the same, Keith admits that those prog rock days are probably not his son’s favorite.

“Seth probably has a few songs he doesn’t want to hear again. Songs that I would get him listen to when he was younger. Mostly progressive rock from bands like Yes, early Genesis, stuff like that. Even though recently he has shown an interest in experimenting with time signatures other than basic 4/4 and 6/8. I like to think that old stuff I made him listen to just might be coming out,” Keith says. “We will see.”

 

 

–end—-

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The Zombies’ Odyssey 50 Years On

For Rod Argent and The Zombies, deciding to play their final album as a band, the pop psychedelic masterpiece, “Odessey and the Oracle,” live for the first time required more than getting together a group that had not performed in decades.

It required a Victorian-era pump organ.

When Argent and Chris White, the two writers in the short-lived Sixties British band committed to doing the album live, they decided not to compromise. After all, the band never had a chance to play “Odessey and Oracle” following its release in 1967. They broke up before the album was released (delayed in the U.S. until Al Kooper convinced Clive Davis to issue it. More on that later).

So they decided to replicate its 12 tunes note for note. That meant finding a pump organ for “Butcher’s Tale (Western Front 1914),” a Pink Floyd meets The Beatles deep track about the horrors of war.

Luckily for them, they found one not 15 miles from Argent’s home in Bedfordshire, “one of the very few Victorian pump organs around for sale in the whole country,” Argent says. It had to be stripped of a century of dust, cleaned and put back together.

The organ and the album debuted live during a 2008 London concert. A one-night stand turned into three. “All sorts of people turned up,” Argent says by phone. “Robert Plant. Paul Weller, who was there all three nights. Snow Patrol. I can’t remember everyone who was there. It was hugely successful.”

Now, 50 years after they released the enduring classic, “Odessey and Oracle” (the title was misspelled by the cover artist), they are on a tour of the United States with a sprawling band recreating the album that contains their biggest hit, “Time of the Season.” (Plenty of Americans saw groups named The Zombies playing that tune in 1968, but they were imposters. More on that later).

They come to Virginia Beach’s Sandler Center for Performing Arts on March 21.

The genesis of the tour was a few gigs in 2000 when Argent got together with White. At first, they didn’t play Zombies tunes. “Very, very gradually we started to realize there was a whole bunch of (Zombies) material we’d never played live and we started including it for fun and very gradually became more serious about putting something more prominent together,” he says.

White broached the idea of playing the resurrected classic. “He said do you realize in 40 years we’ve never played “Odessey and Oracle” live on stage in its entirety? Why don’t we do it?” Argent recalls. “I said, ‘How do we do it?’ ”
The answer was to take their current touring band, add the rest of the living members of The Zombies including Colin Blunstone and drummer Hugh Grundy and a secret weapon, Darian Sahanaja, an arranger for Brian Wilson and member of The Wondermints who could play the Mellotron parts. The final piece was Chris White’s wife, Vivian Boucherat, who adds the high harmonies.

“We decided if we were going to do it at all, we were going to do it by reproducing every single note on the original, ” adds Argent, who went on to form the group, Argent, after the Zombies and have hits with “Hold Your Head Up” and “God Gave Rock and Roll to You.” “We needed all those musical lines and the extra harmonies we’d overdubbed to really make some of the tracks come alive.”

That the album was made in the first place is another story. By 1967, The Zombies had not had a hit in Great Britain for too long. Live gigs in those days, Argent notes, were paid based on your chart position. They’d scored a hit with “She’s Not There” at home, literally the third song Argent wrote in his life. But that was it.

“In those days, we were very much more based out of the country of origin,” he says. “We had done some States tours, but we were very much based in the UK. We found out later that we usually had a hit somewhere in the world, but we didn’t know this at the time. “

White and Argent, the writers, had a steady stream of income from publishers, but the three other guys in the band were struggling. “We were lucky enough to have very honest publishers. We didn’t have to search around for money. We were pretty well off, actually,” Argent says. “But the rest of the band didn’t have a penny to dress themselves with by the time we broke up.”

They also weren’t happy with the sound of their records. They wanted a fuller sound, no doubt influenced by The Beach Boys “Pet Sounds” and the experimentation of The Beatles at the time. Argent’s roots go deep into classical music growing up. Then he discovered rock, especially Elvis Presley, introduced to him by Jim Rodford, a neighbor down the street who would go on to play with The Kinks. Rock and roll got him into R&B and then a long exploration into the jazz of Miles Davis, Bill Evans and John Coltrane. He says he was “very knocked out” when Pat Metheny mentioned his admiration for “She’s Not There.”

With their popularity waning, CBS in the UK offered them only 1,000 pounds to record the album. They walked into Abbey Road Studios just after The Beatles walked out following the recording of “Sgt. Pepper’s Lonely Hearts Club Band.” Fresh in Argent’s mind were the bass lines of “Pet Sounds,” and the singles “Penny Lane” and “Strawberry Fields Forever.” “Sgt. Pepper” would not be released until they’d finished.

“Lennon left his Mellotron lying around and we pounced on that,” Argent says. “We had a ball recording that album. We had a very limited budget so over several months it was basically one session of three hours or two sessions of three hours at most to create each track.”

The last song they recorded, their last song in the studio, was “Time of the Season.” Argent got the inspiration for the title because he misheard the lyrics to Smokey Robinson’s “Tracks of My Tears” as “it’s the time of the season to trace the tracks of my tears,” which he blames on scratchy AM radio. Most of the song was written in a day. He finished the final words in the studio as the rest of the band chilled in a pub waiting to record.

When they returned, he wanted Blunstone to sing lead. It took more than a few takes and some verbal sparring before he nailed the phrasing Argent wanted. “I remember saying to Chris White I think this could be a big hit, but no one else shared my feeling,” he recalls.

For the first time on “Odessey,” they used multi-tracking, which allowed for overdubs of piano, Mellotron, guitar or harmonies. “We were very proud of the album when we finished. We thought it was the best thing we could do,” he adds. “It was how we wanted to sound.”

It was released in the UK to an ignoring audience.

Al Kooper, the keyboardist and member of Blood, Sweat and Tears, was a house producer for CBS in America at the time. He heard the album on a trip to Britain and bought 200 copies to take back to New York. Kooper told Davis he had to find out who had the rights, secure them and release the album in the U.S.

The rights weren’t a problem, Davis said. CBS in the U.S. owned them. But he’d already passed on the album. Kooper persisted, the album was released in the U.S. and became a hit — eventually (more on that s

oon). “We certainly keep in touch with Al,” Argent says laughing. “Our gratitude is unbounded.”

The first two singles flopped. Then came “Time of the Season.” “Nobody played it, but one DJ in Boise, Idaho, picked up on it,” he says. Over six months, the song slowly rippled out from there, rising on the charts to become a number one in nearly every country — except the UK, Argent notes.

The Zombies were offered a million dollars to tour. But Argent was moving forward with his own band with White as producer. Blunstone became a solo act. Guitarist Paul Atkinson became an A&R man. Grundy eventually left music all together.

The band that was no more had a hit. Crafty promoters solved that problem, creating fake Zombies who met the demand for “Time of the Season.” Years later, Argent learned one of those groups, born in Texas, featured a couple of guys named Dusty Hill and Frank Beard. They’d later go on to be two-thirds of a little band named ZZ Top.

The album struggled along, not earning many sales or much acclaim until years later when it became a cult disc that’s a staple of record stores, especially on vinyl. “To my complete astonishment, it has had a long life and is sells more every year than when it first came out,” Argent says.

The Zombies are on one last tour, a tour of the U.S. playing “Odessey” based on the success of those UK shows. There was just one problem. The pump organ, that huge pump organ, could not go on the road.

So they went looking for another one, one that was portable. They found a World War I era pump organ that was used to play for the troops, a perfect ending.

“That’s even more appropriate because the song we use it for is Chris White’s “Butcher’s Tale,” based on the world war,” Argent says.

For The Zombies, the odyssey had a happy ending. It just took time.

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