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Photo by Jim Newberry
Volume 3 #5 (March 8 - 21, 2000)
Interview with The Blacks' Bassist Gina Black
BY
MIKE
ROYCROFT
The Blacks are a three piece country outfit with a tight,
rockin' feel on Chicago's "insurgent country" label
Bloodshot Records. The band consists of singer/guitarist
Danny Black, bassist Gina Black, and drummer James Emmenegger.
When Boogie Pensacola asked me to review The Blacks'
debut, Dolly Horrorshow, last year, I played the CD
and became an instant fan. The Blacks played Sluggo's shortly
thereafter, and I thought they sounded even better live.
When Boogie Pensacola asked me to review
The Blacks' latest CD, Just Like Home, I jumped
at the chance, and even went so far as to line up this exclusive
interview by email with their bassist Gina Black.
The Interview
I have to ask you about this album cover because it's definitely an
attention-getter!
Gina: I drew the line drawing sketch of that about four and
a half years ago, and just
added it to my arsenal of pictures I make but don't actually do anything
with. Dan decided on the album title months before we even recorded.
I was a claymation artist at the time, and when Dan asked me use the picture
for the album cover, I wanted to do something that looked creepier, more
life-like. So I re-did it in clay and had it photographed by Matt Biscan, a
fine young up-and-comer in the Chicago scene.
You guys have chosen to play a traditional style of music. How do
you keep your originals fresh without falling into clichés or
repeating the past?
Gina: Dan and I love the old styles of music, particularly the
chord changes that
they are based on. Blues, country, jazz and even the Beatles are very
similar structurally when you break them down, but they still sound distinct
and different. So if my heart is really moved by a certain C to G change
held for a given time, a change that's been utilized a billion times in other
songs, it sounds new because I'm screaming over it, or bowing my bass, or
whatever. Every song I write starts with someone else's seed, but I'm the
one that grows it into a living thing. I think I avoid clichés too by not
following formulas. If it starts out as an AC/DC-ish song, it's nice to stick
a sexy trumpet part in the middle.
Speaking of clichés, sorry for this standard "rock journalism"
question, but could you give me a brief history of the band?
Gina: Dan and I met in October 1994 at Lounge Ax in Chicago. I was
attending DePaul for classical upright bass, and Dan had just gotten over a
heavy guitar band and was listening to Hank Williams, Louis Armstrong, Tom
Waits, so on. He was looking for an upright bass player. We started
playing together, went through a number of drummers and auxiliary members,
and then finally found James Emmenegger through an ad in the Chicago
Reader in late '97. Bloodshot
Records is also based in Chicago, and although they had been aware of us for
a little while, I don't think that Rob or Nan had seen us as a fully
functioning band until South by Southwest (the celebrated annual Texas music
summit) in '98. We signed in May, put out our first record in July, and now
here we are. Anyone that wants to hear the good parts can buy me a beer when
they see our show.
You used to have another guitarist, Nora O'Connor. What happened to
her?
Gina: She was a friend of Dan's brother, and we originally were going to
have her sing some back-ups with me for in-town shows. She started
learning more guitar parts, came out on some tours, then all of them. Dan
picked out a guitar and an amp for her, and things went pretty well for a
while. After a while, though, it became apparent that she was more
interested in singing and we wanted her to play more guitar. At this point,
I'd just say we fired her, but the nice thing to say would be that we
mutually decided to part ways. We're still friendly with her.
You guys have gotten your share of attention while playing
smaller clubs. I've heard buzz about you from other towns, and I saw
you mentioned in Rolling Stone a while back. Are you guys
looking to get bigger in terms of corporate sales and popularity,
or are you content where you are?
Gina: I'd like to be able to make a living off the band.
It would be nice
to be self-employed in respect to that, but we'd never change the way we do
things just to make more money or go corporate. I think it's a little
ridiculous when people go too far to preserve "indie cred."
Between the punk living on someone's floor and eating a peanut
butter sandwich once a day and Shania Twain, there's bands like Southern
Culture or Reverend Horton Heat or Jesus Lizard that have fans from touring
and performing. I like that idea.
Looking at some press clippings, you tend to get
the focus of attention. Is that something you're comfortable with?
Does that cause problems with the other band members? Do you feel
trivialized, that some people see a female with a standup bass as
a novelty?
Gina: I like attention. Fine, fuck it. If someone ever thinks I'm
posturing or trying to get attention by wearing plastic pants, and they have
a problem with that, they can kiss my ass. There's a place for looking good,
putting on a good live performance, but I know my position and that is
kicking ass. Dan and James don't seem to have a
problem if I get a little more attention sometimes. Just as often, people
won't shut up about what a great singer Dan is or what a talented animal
James is. It depends on what someone's interested in, or maybe their sexual
orientation and how drunk they are.
Have you had the opportunity to meet any of your musical heroes while
touring?
Gina: Reverend Horton Heat. I've loved that band since I was
in high school, and we
played a show with them in Columbia, Missouri, back in '98. They were extremely
friendly, and I heard the Rev watched part of the show backstage and told Dan
afterwards that he liked us. I still hear from the drummer, Scott,
infrequently. Last fall at the CMJ fest in NYC, we
were drinking at the Lakeside Lounge when we heard a rumor that some of the
musicians that played on the Gram Parsons tribute were playing an impromtu
thing after doing Sessions at West 54th at the Guinness Bar. Gillian Welch,
her guitar guy, the dude from "Whiskeytown," their violinist, and best of all
Jim Lauderdale were playing. Lauderdale did "She Thinks I Still Care," and
I believe that Dan was moved to tears. Well, there was no bass, so I slammed
a few Guinness, got up my nerve and asked them if I could play. Jim
Lauderdale was in particular extremely nice, and loved it.
Do you tend to play more "rock" clubs, or more "country" places? How
is your audience divided between those genres?
Gina: The lines between "rock" and "country" clubs have become
so blurred.
Mostly it's clubs that have smaller bands, like Empty Bottle, Double Door,
Schubas, and the Metro in Chicago. Clubs that may have Elliot Smith one
night, and then someone who draws twenty people the next. In terms of our
audience, I think our fans are pretty diverse. Punk rockers to older guys
who tell us they just covered "Teresa Leaves Lonesome Town" (from Dolly
Horroshow) at their family party. When we open for a band,
we usually get a great response whether the main act is punk or country.
How do you go about writing songs? What sorts of things
inspire you?
Gina: I usually have a lick or a cool line pop into my head out
of nowhere,
when I'm driving or laying in the tub.
I really love writing words. It's almost like fitting a puzzle
together. They need to flow, and have a unique rhythm to them.
Dan and I usually write separately, work the song out on
acoustic guitar, then bring it to the rest of the band. Two songs on Just
Like Home we co-wrote, and I think that both times it was because we each
had a good, undeveloped song and we were able to stick 'em together. Dan
likes to get stoned and write. I'm inspired by beer, sex, good stories and
things that make me mad or make me cry.
Does life on the road suit you?
Gina: Life on the road suits me damn good. I can barely contain my
excitement about going out in a week or so. It's a rather difficult
lifestyle, and if you try to live on what you make, you really need to be
frugal. I still like to have enough money to eat well enough, keep smoking,
drink good beer, and occasionally buy cool shit on the road. That sometimes
means spending all my money, and I'm not going to be able to
afford an IKEA
furnished condo in Wicker Park with a Lexus or whatever and a stupid golden
retriever. That's fine. I get to travel all over the country in my 20's,
and do something that can be pretty fucking exciting every night. I really
like being recognized for what I do (I'm pretty sure a lot more people know
who I am than Carrie fucking Bollinger) and if Dan and I ever get married,
we'll be sending out invitations all over the country. Each year, we know
more people in more cities. That kicks ass.
Thanks to Gina for the great interview! This interview will also be
featured in the second anniversary issue of Mike Roycroft's creative
writing magazine Buzz Nietzsche due out in April 2000.
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