16
Polls / What do we think of 'Rabbits on the Run'?
« on: July 26, 2011, 07:49:54 am »
So the day has come & the album's released.
What do we think of it?
What do we think of it?
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17
General Vanessa Carlton Discussion / Does anybody have the new Zooey interview?
« on: July 21, 2011, 10:03:16 am »
It's in their magazine.
Carlton worked with Steve Osbourne, a very well known producer, on her new album – the beginning of which represented a rebirth of sorts. “I went back to my roots, making my own little demos. I would email them to [Osbourne] as I was making them.” About half of the album had been written by Carlton before, and two songs were written in the studio.
The studio is an instrument as well,” explains Carlton. While in the process of producing “Rabbits on the Run,” Carlton was advised by her good friend Stevie Nicks to record the album in a shire of London. The setting, the environment – it all influenced her sound. She stayed in the shire, on and off, for about a year. By taking herself out of her usual environment, she was able to overcome the writer’s block that had plagued her back home. “I never recorded in England. I never recorded to tape. Today, there are too many options in every category of your life. And having so many options open to you as an artist is detrimental.”
^^ That's a portion of it. Sounds interesting.
Carlton worked with Steve Osbourne, a very well known producer, on her new album – the beginning of which represented a rebirth of sorts. “I went back to my roots, making my own little demos. I would email them to [Osbourne] as I was making them.” About half of the album had been written by Carlton before, and two songs were written in the studio.
The studio is an instrument as well,” explains Carlton. While in the process of producing “Rabbits on the Run,” Carlton was advised by her good friend Stevie Nicks to record the album in a shire of London. The setting, the environment – it all influenced her sound. She stayed in the shire, on and off, for about a year. By taking herself out of her usual environment, she was able to overcome the writer’s block that had plagued her back home. “I never recorded in England. I never recorded to tape. Today, there are too many options in every category of your life. And having so many options open to you as an artist is detrimental.”
^^ That's a portion of it. Sounds interesting.
18
General Vanessa Carlton Discussion / BeatCrave interview.
« on: July 21, 2011, 08:48:23 am »
Vanessa Carlton became reclusive for two years, and during those two years she turned to Richard Adam’s Watership Down and Stephen Hawking’s Brief History of Time for inspiration. Vanessa entered the pop scene in 2002 with her debut album Be Not Nobody. But nearing thirty, she felt lost. Luckily, Vanessa made her way to Real World Studios in Box, England and began recording her new, mostly-instrumental music directly to tape. Her writer’s block quickly receded; she proceeded to create the dreamy and evocative 10-track album Rabbits on the Run. Now, Vanessa tells us about her upcoming fourth studio album Rabbits on the Run as well as some advice, philosophy, and how her music has evolved over the past decade. Check out our exclusive interview with Vanessa Carlton below.
BeatCrave: What would you say is new or different about Rabbits on the Run as compared to your albums in the past? Any similarities?
Vanessa Carlton: As an analogy I’d say this record is my first album that’s pure muppet….as opposed to being part muppet part CGI. I feel that my heart and brain is all muppet so it’s about fuckin’ time.
BC: What’s your favorite song on Rabbits on the Run? Why?
VC: Hear the Bells. It chronicles my search to fix my health. My favorite cemetery and my witch doctor make appearances. I was a pretty sick bird there for a while. The idea that all the while the remedy is pretty much inside of you the whole time. So simple and true. Sonically it’s exactly what those thoughts feel like. Steve Osborne is a wizard.
BC: Referring to Richard Adams’ Watership Down, your biography quotes you saying: ”My whole being related to this story. I realized how lucky I am to be an artist in this world, how I somehow got out of the burrows.” Could you elaborate on this quote? What does it mean for you to escape the burrows?
VC: I try hard not to live a Karaoke life…..everyday it takes maintenance. Have you heard the Malcolm McLaren TED talk? It’s rad. Watership Down can be used as a totem if you want it to be that.
BC: Can you tell us about your songwriting process? How has this evolved over the years?
VC: Words and melodies that I would have been okay with in the past don’t make the cut anymore. I have almost shed all of the mimickery that I used to propel my process back when I was 17….when I was learning to write a pop song.
BC: Can you tell us about your process for writing the instrumental portion of your music?
VC: It starts with one note or one chord or one idea and my mind starts to weaves it together with the next thing. I feel very much out of control of it, but at the same time I’m very particular about what I like to hear come out of my hands. First part of the process is sitting myself down, which can be difficult at times.
BC: Why was recording your latest album in analog an important aspect of the recording process?
VC: If you go back to the way records used to be made, it changes your recording process. You only have a few takes to get it right. The vibe has to be there already. We rehearsed alot. The sounds of tape, the palette of sounds of the 60′s and 70′s, is what we were working with. Those colors are what inspired this record. It was the only type of record I wanted to make. I mainly listen to vinyl so it makes sense.
BC: Recently in a live chat session, you stated that you’re an atheist. In regard to the lyrics “colored stained glass cathedral/ confines a past that won’t let you go” from your song “Tall Tales for Spring,” do these lyrics refer to a religious upbringing that you’re leaving behind?
VC: It is easy to be continously ravaged by the past, but what about embracing that chaos and respecting it for what it is? Understanding that the pattern and creation of the universe can reflect the way your own micro-universe (your brain) works is such an awesome idea. It makes so much sense to me. Stained glass steeples are beautiful and can focus your mind but they’re not gonna rescue you from your own thoughts. There is so much more to this than what I’m saying in this moment. We’ll have to do a part II or something.
BC: What’s the best advice anyone has ever given you?
VC: Be brief.
BC: Rabbits on the Run was initially scheduled to be released June 22nd, but is now being released on July 26th. For fans eagerly awaiting your album drop date, could you give some insight into the release date change?
VC: Razor and tie gave themselves a bit more time to set up the release. Rad.
C: After your tour this summer, what’s next?
VC: All about bringing this record to life everynight. Tour in fall. I want to go back to the UK…..release this record where it was created and tour lots. Indonesia, Europe, Asia…….if they’ll have me of course. : )
BeatCrave: What would you say is new or different about Rabbits on the Run as compared to your albums in the past? Any similarities?
Vanessa Carlton: As an analogy I’d say this record is my first album that’s pure muppet….as opposed to being part muppet part CGI. I feel that my heart and brain is all muppet so it’s about fuckin’ time.
BC: What’s your favorite song on Rabbits on the Run? Why?
VC: Hear the Bells. It chronicles my search to fix my health. My favorite cemetery and my witch doctor make appearances. I was a pretty sick bird there for a while. The idea that all the while the remedy is pretty much inside of you the whole time. So simple and true. Sonically it’s exactly what those thoughts feel like. Steve Osborne is a wizard.
BC: Referring to Richard Adams’ Watership Down, your biography quotes you saying: ”My whole being related to this story. I realized how lucky I am to be an artist in this world, how I somehow got out of the burrows.” Could you elaborate on this quote? What does it mean for you to escape the burrows?
VC: I try hard not to live a Karaoke life…..everyday it takes maintenance. Have you heard the Malcolm McLaren TED talk? It’s rad. Watership Down can be used as a totem if you want it to be that.
BC: Can you tell us about your songwriting process? How has this evolved over the years?
VC: Words and melodies that I would have been okay with in the past don’t make the cut anymore. I have almost shed all of the mimickery that I used to propel my process back when I was 17….when I was learning to write a pop song.
BC: Can you tell us about your process for writing the instrumental portion of your music?
VC: It starts with one note or one chord or one idea and my mind starts to weaves it together with the next thing. I feel very much out of control of it, but at the same time I’m very particular about what I like to hear come out of my hands. First part of the process is sitting myself down, which can be difficult at times.
BC: Why was recording your latest album in analog an important aspect of the recording process?
VC: If you go back to the way records used to be made, it changes your recording process. You only have a few takes to get it right. The vibe has to be there already. We rehearsed alot. The sounds of tape, the palette of sounds of the 60′s and 70′s, is what we were working with. Those colors are what inspired this record. It was the only type of record I wanted to make. I mainly listen to vinyl so it makes sense.
BC: Recently in a live chat session, you stated that you’re an atheist. In regard to the lyrics “colored stained glass cathedral/ confines a past that won’t let you go” from your song “Tall Tales for Spring,” do these lyrics refer to a religious upbringing that you’re leaving behind?
VC: It is easy to be continously ravaged by the past, but what about embracing that chaos and respecting it for what it is? Understanding that the pattern and creation of the universe can reflect the way your own micro-universe (your brain) works is such an awesome idea. It makes so much sense to me. Stained glass steeples are beautiful and can focus your mind but they’re not gonna rescue you from your own thoughts. There is so much more to this than what I’m saying in this moment. We’ll have to do a part II or something.
BC: What’s the best advice anyone has ever given you?
VC: Be brief.
BC: Rabbits on the Run was initially scheduled to be released June 22nd, but is now being released on July 26th. For fans eagerly awaiting your album drop date, could you give some insight into the release date change?
VC: Razor and tie gave themselves a bit more time to set up the release. Rad.
C: After your tour this summer, what’s next?
VC: All about bringing this record to life everynight. Tour in fall. I want to go back to the UK…..release this record where it was created and tour lots. Indonesia, Europe, Asia…….if they’ll have me of course. : )
19
General Vanessa Carlton Discussion / [WT] Vanessa chats to Out.
« on: July 21, 2011, 07:45:19 am »20
Creative Endeavors / My cover of "Marching Line".
« on: July 03, 2011, 09:35:15 am »
First of all - the volume on this upload is AWFUL. I'm so sorry.
Anyway, if you think you can sit through it then here's the link:
http://www.youtube.com/watch?v=MKxKUxNUYbk
A few mistakes. I only learned it an hour or so ago, so there will definitely be improvements.
Anyway, if you think you can sit through it then here's the link:
http://www.youtube.com/watch?v=MKxKUxNUYbk
A few mistakes. I only learned it an hour or so ago, so there will definitely be improvements.
21
General Vanessa Carlton Discussion / Vanessa Carlton on ABC News.
« on: June 28, 2011, 11:28:00 am »22
General Vanessa Carlton Discussion / Have we seen this?
« on: June 25, 2011, 12:48:30 am »
http://www.dailymotion.com/video/xjiit4_vanessa-carlton_lifestyle
I've only just come across this. It's interesting and the questions are different for a change.
If it's been posted, I apologise.
I've only just come across this. It's interesting and the questions are different for a change.
If it's been posted, I apologise.
23
General Vanessa Carlton Discussion / Another interview.
« on: June 20, 2011, 12:15:29 pm »
With Lovelyish.
Famous for such hits as "A Thousand Miles" and "White Houses," songstress Vanessa Carlton is about to release her fourth album, entitled Rabbits on the Run.
Continuing her evolution as an artist, Rabbits on the Run is Vanessa's first album on an indie label. It is produced by Steve Osborne (who has worked with the likes of U2 and KT Tunstall) and recorded in the UK at Peter Gabriel’s renowned Real World Studios directly onto tape. Rabbits on The Run features 10 written or cowritten by Vanessa with Patrick Hallahan (of My Morning Jacket) and Ari Ingber (of The Upwelling).
"Carousel," the first single from the album, is available for purchase. But because Lovelyish readers are so wonderful, we're giving away a free download of the song at this link.
Recently, Vanessa took some time out of promoting her album to sit down with us for a super quick interview!
Q: This album is a bit of a departure from what you’ve done in the past. What prompted you to make this change?
A: Necessity, really. I wanted this dreamy kind of quality to my music, and it was that or nothing. So I had to kind of go and do it for myself.
Q: Can you tell us a bit about the collaborative process and what went into co-writing your songs?
A: I started co-writing a little bit on my second record when I started working with Stephen Jenkins, but I’m a songwriter. It depends; actually, it’s a little tricky. It depends on how you connect with the other person. Sometimes someone’s really great or really strong at writing lyrics, or melody, or coming up with chords. Ari [Ingber] and I are really good friends and we came up with this really simple guitar part. And it’s super simple, but something I would never have done before, being a pianist. So it was really wonderful.
Q: What kind of sound can your fans expect? Is it anything like your other stuff?
A: Totally stripped down. Totally streamlined. Very warm in terms of the sonics, and very much inspired by my vinyl record collection.
Q: What’s your favorite song on the album, or the one most important to you?
A: I think it’s probably "Hear the Bells," and that’s really kind of about the transformation I went through, specifically starting with my health. I was really sick, and that song chronicles the process that I went through and how I came to a certain peace. So that song is crystallizing a moment in time that’s very important to me, and it’s still continuing so it’s like a meditation. I think it’s very beautiful.
Famous for such hits as "A Thousand Miles" and "White Houses," songstress Vanessa Carlton is about to release her fourth album, entitled Rabbits on the Run.
Continuing her evolution as an artist, Rabbits on the Run is Vanessa's first album on an indie label. It is produced by Steve Osborne (who has worked with the likes of U2 and KT Tunstall) and recorded in the UK at Peter Gabriel’s renowned Real World Studios directly onto tape. Rabbits on The Run features 10 written or cowritten by Vanessa with Patrick Hallahan (of My Morning Jacket) and Ari Ingber (of The Upwelling).
"Carousel," the first single from the album, is available for purchase. But because Lovelyish readers are so wonderful, we're giving away a free download of the song at this link.
Recently, Vanessa took some time out of promoting her album to sit down with us for a super quick interview!
Q: This album is a bit of a departure from what you’ve done in the past. What prompted you to make this change?
A: Necessity, really. I wanted this dreamy kind of quality to my music, and it was that or nothing. So I had to kind of go and do it for myself.
Q: Can you tell us a bit about the collaborative process and what went into co-writing your songs?
A: I started co-writing a little bit on my second record when I started working with Stephen Jenkins, but I’m a songwriter. It depends; actually, it’s a little tricky. It depends on how you connect with the other person. Sometimes someone’s really great or really strong at writing lyrics, or melody, or coming up with chords. Ari [Ingber] and I are really good friends and we came up with this really simple guitar part. And it’s super simple, but something I would never have done before, being a pianist. So it was really wonderful.
Q: What kind of sound can your fans expect? Is it anything like your other stuff?
A: Totally stripped down. Totally streamlined. Very warm in terms of the sonics, and very much inspired by my vinyl record collection.
Q: What’s your favorite song on the album, or the one most important to you?
A: I think it’s probably "Hear the Bells," and that’s really kind of about the transformation I went through, specifically starting with my health. I was really sick, and that song chronicles the process that I went through and how I came to a certain peace. So that song is crystallizing a moment in time that’s very important to me, and it’s still continuing so it’s like a meditation. I think it’s very beautiful.
24
General Vanessa Carlton Discussion / Vanessa on 'Good Day New York' tomorrow.
« on: June 20, 2011, 09:38:45 am »Quote
Watch "Good Day New York" tomorrow morning at 9AM EST to see a live interview and performance from Vanessa! - MGMT
I was going to post it in the Tweet thread, but some people might not go in that thread.
25
General Vanessa Carlton Discussion / Pre-order to get a signed copy of 'Rabbits on the Run'.
« on: June 19, 2011, 10:37:25 am »
Do we all know about this?
A signed booklet.
http://www.newburycomics.com/rel/v2_home.php?storenr=103&deptnr=316
Sorry if it's already been posted.
A signed booklet.
http://www.newburycomics.com/rel/v2_home.php?storenr=103&deptnr=316
Sorry if it's already been posted.
26
General Vanessa Carlton Discussion / Wow - ANOTHER interview!
« on: June 14, 2011, 12:50:35 pm »
Dan MacIntosh (Songfacts): When I saw the title of your album, I thought about John Updike with Rabbit, Run. And then I read that some of the songs were inspired by Watership Down and A Brief History of Time. And thinking about that, I couldn't think of two more different books. So maybe you can explain to me what you found in common in those to inspire some of the songs on this album?
Vanessa Carlton: Yeah. I've had people tell me that. It's so funny. I'm like, well, you have to cover the whole section, right, between those two books? I have all the Updike books - he's probably pulling from the same kind of root, in a sense, with so many mythological and symbolic attachments to the rabbit. So I find that is a symbol in a lot of different artists' work. Philosophically there's a thread through both of them that really was like the golden thread for me through this project, through these stories, through this message. But Watership Down is like mythological to me. And I connect with both emotionally - I have an emotional reaction to A Brief History of Time.
But Watership Down was more like kind of the emotional bible, and I did carry it around like it was a bible. But before that it was Brief History of Time, because the thing with A Brief History of Time and all of the pain, I was struggling a lot personally with a lot of things crumbling and a lot of chaos, and turned to that book, and that kind of got me through it. That was in conjunction with therapy. But that book made me understand things and crystallize things in a way that I was never able to do before.
And so I think that was kind of the preface to Watership Down for me; those two books ended up being kind of the anchor for this entire project.
Songfacts: You did a good job of bringing those together. I commend you.
Vanessa: A lot of people could tie them in many different ways, but this is just the way that I did. Just the way that I personally connected to both.
Songfacts: Your song "A Thousand Miles" was used in the movie White Chicks, of all movies, which kind of surprised me. It doesn't seem like the kind of place where I would expect to hear your music. How do you feel about having your song used in that film?
Vanessa: I thought it was hilarious.
Songfacts: So you got a kick out of it?
Vanessa: Yeah. I mean, those guys are really nice, too. I ran into them backstage or something, and they asked me if they could use it. They're like fans, they're so cute. But the scene that was in was hilarious.
Songfacts: How do you feel about having your song be kind of a white girls' anthem? Are you okay with that?
Vanessa: Yeah. I mean, if you've seen it, that's not the message of it. That is not the way that they plug it in the film. If you see it, it's actually the secret song of that big, black dude in the SUV, it's like his jam. But the irony is that people associate it with a white girl playing the piano. It's like his secret jam, so it's able to push through all of those micro genres and you can't profile who's going to like the song. That's what they were displaying in that scene. And I really liked that a lot.
Songfacts: And who knows, it might have even made you more popular with African-American listeners.
Vanessa: Dude, I mean, I love it. When I think of a music listener or a fan of mine, or followers of mine, I don't even think in those terms. I feel like music is just so human. The more the merrier.
Songfacts: I noticed that you recorded Rabbits on the Run at Peter Gabriel's Real World Studios, which must have been amazing. Had you been there before? And what were your impressions and your experiences of recording there?
Vanessa: I've never been there before. I didn't know it existed. And it was like, mind-blowing. Because for me, personally, being in nature, being in that special kind of countryside and creating this music, being able to record in a studio that has some of the best vintage gear in the world, like, in the middle of the shire, my ideal situation. So that was absolutely wonderful and inspiring. And it's a bit isolated, so I think it's the most productive I've ever been. Your ideas are really crystallized because of the environment - you're just so focused. And it's stunningly beautiful, the land there is very special, and Peter Gabriel obviously understands how certain artists like to work. He's created something that is totally bewitching. And I hope that place never goes anywhere, because it is truly, truly special.
Songfacts: Did it change any of the songs, do you think, from how you originally considered them, and then when you took them into that studio?
Vanessa: That's an interesting question. I think you're always affected by environments. It was just the ideal environment to do pure... I call it arts and crafts, because it's when you're not judging yourself when you create. When you do arts and crafts, you're just creating. And that's what we were doing in the loft at Real World. And it enables that. Before I started this record with (producer) Steve (Osborne), it was a meticulously planned record. It's like the bones are there. It's meticulously laid out how we put these bones together. And then, because it is so clear in your mind with what you want it to sound like, then you have this freedom that you give yourself to just play with different paints, because it's so clear to you what you're creating.
Songfacts: Was it your best recording experience?
Vanessa CarltonVanessa: Yeah. It was unlike anything I've ever been a part of before. I ache for it, I wish it wasn't over. Personally, I feel more vibrant because of the experience, so I hope that everyone that worked on it maybe took away something like that, made a friend for life, and for me it's an honor to even be able to have created it and now I'm humbled that people want to hear it.
Songfacts: I have a little girl at home and it seems like every girl I've ever met wants to be a bride and dreams about her wedding. And yet you have a song called "I Don't Want To Be A Bride." Explain that song.
Vanessa: It's funny, because... well, I guess it's not funny. But the little girl wanting to get married, I mean, where do you think that comes from? Does that come from society? No, I don't think pop culture - does pop culture get to a 7-year-old about wanting to be a bride? Maybe. Mostly it comes from the mother.
Songfacts: And did you not get that from your mother?
Vanessa: Not really. I don't think she's thrilled about the song, to be honest. But I have yet to hear a song that represented that point of view and that kind of female philosophy. Which, I believe is very optimistic, it totally is subscribing to a great love. I absolutely believe that, and I also support people that want to get married. That's totally your prerogative and I have met a few couples that have wonderful marriages. This is the way that I feel. And it's not very popular. (laughing) I hear a lot of the male side, from the male point of view, you know, I don't want to settle down. Not ready to settle down. It's different, it's not anti-settling.
Songfacts: Right. It expresses a place in life, right?
Vanessa: Yeah, and this kind of buzz of anxiety that surrounds a lot of women when you hit a certain age - about marriage - I wish that didn't exist. And I understand the whole pregnancy situation with women where if you want to have a child, you only have so much time. But you still can wait to your early 40s, you still could figure something out. I think it's a bit unfair, because I think it shuts down a lot of women in their most exploratory phase of their life. I mean, I just turned 30 and I can't even tell you how much more curious I am - I'm more curious now than I've ever been.
Songfacts: That's good to hear, especially for an artist.
Vanessa: Thank you. I'll work on it. You gotta keep watering that one.
Songfacts: Well, because it's easy to get jaded, right? Especially being the music business, to get jaded about life, right?
Vanessa: Jaded about music would be such a tragedy. But I think I did, actually. I mean, maybe it did happen to me a couple of years back. Yeah. I think it manifested itself with me, actually, physically, I was really sick. But I pulled through that one.
Songfacts: Let's talk about the single. The single's "Carousel." What can you tell me about that song, how did that come about?
Vanessa: The only song I've ever written in a dream that sounded great in the morning.
Songfacts: Really?
Vanessa: Yep.
Songfacts: So did you dream about a carousel?
Vanessa: No. It's simple, I mean, let's go back to what happened. I'll tell you what happened. It was good, it was really simple, because the (singing), "da na na na na," it's like a scale, it's a scale. And it was like I woke up with a feeling more than the words. But I had the scale and I had the rhythm of the chorus, which is like you're resting on the one note. It was like 3:30, I'd woken up, and I went out to the piano and just recorded it quickly on my Garage Band, the piano part - I have no idea how I remembered it. So I just played that and then I went back to bed. And now the words started coming, the vibe of the song lyrically, it was all coming. And I wrote it all down in the dark in my Blackberry.
Vanessa Carlton: Yeah. I've had people tell me that. It's so funny. I'm like, well, you have to cover the whole section, right, between those two books? I have all the Updike books - he's probably pulling from the same kind of root, in a sense, with so many mythological and symbolic attachments to the rabbit. So I find that is a symbol in a lot of different artists' work. Philosophically there's a thread through both of them that really was like the golden thread for me through this project, through these stories, through this message. But Watership Down is like mythological to me. And I connect with both emotionally - I have an emotional reaction to A Brief History of Time.
But Watership Down was more like kind of the emotional bible, and I did carry it around like it was a bible. But before that it was Brief History of Time, because the thing with A Brief History of Time and all of the pain, I was struggling a lot personally with a lot of things crumbling and a lot of chaos, and turned to that book, and that kind of got me through it. That was in conjunction with therapy. But that book made me understand things and crystallize things in a way that I was never able to do before.
And so I think that was kind of the preface to Watership Down for me; those two books ended up being kind of the anchor for this entire project.
Songfacts: You did a good job of bringing those together. I commend you.
Vanessa: A lot of people could tie them in many different ways, but this is just the way that I did. Just the way that I personally connected to both.
Songfacts: Your song "A Thousand Miles" was used in the movie White Chicks, of all movies, which kind of surprised me. It doesn't seem like the kind of place where I would expect to hear your music. How do you feel about having your song used in that film?
Vanessa: I thought it was hilarious.
Songfacts: So you got a kick out of it?
Vanessa: Yeah. I mean, those guys are really nice, too. I ran into them backstage or something, and they asked me if they could use it. They're like fans, they're so cute. But the scene that was in was hilarious.
Songfacts: How do you feel about having your song be kind of a white girls' anthem? Are you okay with that?
Vanessa: Yeah. I mean, if you've seen it, that's not the message of it. That is not the way that they plug it in the film. If you see it, it's actually the secret song of that big, black dude in the SUV, it's like his jam. But the irony is that people associate it with a white girl playing the piano. It's like his secret jam, so it's able to push through all of those micro genres and you can't profile who's going to like the song. That's what they were displaying in that scene. And I really liked that a lot.
Songfacts: And who knows, it might have even made you more popular with African-American listeners.
Vanessa: Dude, I mean, I love it. When I think of a music listener or a fan of mine, or followers of mine, I don't even think in those terms. I feel like music is just so human. The more the merrier.
Songfacts: I noticed that you recorded Rabbits on the Run at Peter Gabriel's Real World Studios, which must have been amazing. Had you been there before? And what were your impressions and your experiences of recording there?
Vanessa: I've never been there before. I didn't know it existed. And it was like, mind-blowing. Because for me, personally, being in nature, being in that special kind of countryside and creating this music, being able to record in a studio that has some of the best vintage gear in the world, like, in the middle of the shire, my ideal situation. So that was absolutely wonderful and inspiring. And it's a bit isolated, so I think it's the most productive I've ever been. Your ideas are really crystallized because of the environment - you're just so focused. And it's stunningly beautiful, the land there is very special, and Peter Gabriel obviously understands how certain artists like to work. He's created something that is totally bewitching. And I hope that place never goes anywhere, because it is truly, truly special.
Songfacts: Did it change any of the songs, do you think, from how you originally considered them, and then when you took them into that studio?
Vanessa: That's an interesting question. I think you're always affected by environments. It was just the ideal environment to do pure... I call it arts and crafts, because it's when you're not judging yourself when you create. When you do arts and crafts, you're just creating. And that's what we were doing in the loft at Real World. And it enables that. Before I started this record with (producer) Steve (Osborne), it was a meticulously planned record. It's like the bones are there. It's meticulously laid out how we put these bones together. And then, because it is so clear in your mind with what you want it to sound like, then you have this freedom that you give yourself to just play with different paints, because it's so clear to you what you're creating.
Songfacts: Was it your best recording experience?
Vanessa CarltonVanessa: Yeah. It was unlike anything I've ever been a part of before. I ache for it, I wish it wasn't over. Personally, I feel more vibrant because of the experience, so I hope that everyone that worked on it maybe took away something like that, made a friend for life, and for me it's an honor to even be able to have created it and now I'm humbled that people want to hear it.
Songfacts: I have a little girl at home and it seems like every girl I've ever met wants to be a bride and dreams about her wedding. And yet you have a song called "I Don't Want To Be A Bride." Explain that song.
Vanessa: It's funny, because... well, I guess it's not funny. But the little girl wanting to get married, I mean, where do you think that comes from? Does that come from society? No, I don't think pop culture - does pop culture get to a 7-year-old about wanting to be a bride? Maybe. Mostly it comes from the mother.
Songfacts: And did you not get that from your mother?
Vanessa: Not really. I don't think she's thrilled about the song, to be honest. But I have yet to hear a song that represented that point of view and that kind of female philosophy. Which, I believe is very optimistic, it totally is subscribing to a great love. I absolutely believe that, and I also support people that want to get married. That's totally your prerogative and I have met a few couples that have wonderful marriages. This is the way that I feel. And it's not very popular. (laughing) I hear a lot of the male side, from the male point of view, you know, I don't want to settle down. Not ready to settle down. It's different, it's not anti-settling.
Songfacts: Right. It expresses a place in life, right?
Vanessa: Yeah, and this kind of buzz of anxiety that surrounds a lot of women when you hit a certain age - about marriage - I wish that didn't exist. And I understand the whole pregnancy situation with women where if you want to have a child, you only have so much time. But you still can wait to your early 40s, you still could figure something out. I think it's a bit unfair, because I think it shuts down a lot of women in their most exploratory phase of their life. I mean, I just turned 30 and I can't even tell you how much more curious I am - I'm more curious now than I've ever been.
Songfacts: That's good to hear, especially for an artist.
Vanessa: Thank you. I'll work on it. You gotta keep watering that one.
Songfacts: Well, because it's easy to get jaded, right? Especially being the music business, to get jaded about life, right?
Vanessa: Jaded about music would be such a tragedy. But I think I did, actually. I mean, maybe it did happen to me a couple of years back. Yeah. I think it manifested itself with me, actually, physically, I was really sick. But I pulled through that one.
Songfacts: Let's talk about the single. The single's "Carousel." What can you tell me about that song, how did that come about?
Vanessa: The only song I've ever written in a dream that sounded great in the morning.
Songfacts: Really?
Vanessa: Yep.
Songfacts: So did you dream about a carousel?
Vanessa: No. It's simple, I mean, let's go back to what happened. I'll tell you what happened. It was good, it was really simple, because the (singing), "da na na na na," it's like a scale, it's a scale. And it was like I woke up with a feeling more than the words. But I had the scale and I had the rhythm of the chorus, which is like you're resting on the one note. It was like 3:30, I'd woken up, and I went out to the piano and just recorded it quickly on my Garage Band, the piano part - I have no idea how I remembered it. So I just played that and then I went back to bed. And now the words started coming, the vibe of the song lyrically, it was all coming. And I wrote it all down in the dark in my Blackberry.
27
General Vanessa Carlton Discussion / Vanessa's uInterview is up.
« on: June 14, 2011, 12:02:55 pm »
http://uinterview.com/music
Q: Some of your songs speak of independence and having the strength to just be yourself. Would you consider yourself a feminist? - Scott Sims
A: In a way, yes. I think I define it in my own way. If you want to generalize, then yeah. I don’t like the label in general.
Q: Will you ever release some of your unreleased songs? Such as All is Well, Morning Sting, and Ameriteen. - Angelo Giusti
A: I don’t know. I gotta revisit those and figure that out. Maybe. Never say never.
Q: How do you get the inspiration for your song melodies? Is it more of the process of experimenting at the piano or is it dependent on external influences? - Leonard
A: You know, it’s just so difficult to articulate because it’s very special. I think in another art forms – if you’re drawing, it’s like why are you going to let your pen go there? Why do you want it to curve that way? Why do you want to shade it this way? You just want to. Sometimes melodies come when I’m at the piano because it’s all relative to what I’m piecing together with my fingers. Sometimes I just hear one note and my brain goes someplace else, weaving together. It’s a loom, like a melodic loom. That’s really difficult to articulate. I hope it doesn’t go away! I don’t think it’s going to; it’s been around for a while.
Q: Your music is amazing, you use a lot of metaphors in your lyrics and I become excited when you release a new album, because your song writing grows more and more. My question is, where do you get the inspiration from whilst writing lyrics? - Ansley Pope
A: With lyrics, I honestly spent so much time fleshing out and being so careful with these lyrics. Books and journals of poetry and stories—the most finely crafted approach I’ve ever had with lyrics. It’s really easy to just get, not lazy, but you fall into “well, I’ve been singing this way for so long, I should just to stay this way because it’s what I’m used to.” Or “this sounds good.” Sometimes you just go with something because it sounds good and that’s not the kind of record I wanted to make. Maybe the words synced well but if it’s not the most articulate or honest thing to say then don’t say it. I just wanted these lyrics to really be able to exist on their own, to be strong as their own element without the music Sometimes you peel the lyrics away from the music, it’s really weak writing. It’s a work in progress but I think I’ve gotten better over the years.
Q: You have stated that you almost didn't do this record. Why is that? What will be the deciding factor if you do another record after Rabbits on the Run? - Richard Otter
A: I’m not in the headspace yet to consider post-“Rabbits.” I’m completely immersed in this rabbit hole. So that answers the second question. Regarding the first question, I basically had slowly been moving away from making the types of records I really wanted to be making. I don’t want to undermine the work I’ve done. There are elements of myself in everything I’ve done. But as a whole, in terms of a body of work, I would get to the finish line on the record — you just end up with something you didn’t plan for. Not that that can be a negative. Sometimes those natural unfoldings of something you didn’t expect are really important. I just lost the blueprint, it wasn’t clear to me anymore. That’s my fault, that muddiness. When you set out, it’s so clear that kind of record of you want to make, you end up with something else. And I just didn’t want to do it anymore. I was extremely frustrated as to why that kept happening. I am the common denominator in that so I had to figure out how to fix myself and change my process completely. I realized that the only way I could make another record was to fix that. It came to be that this record came out of complete necessity. I realized that the standard was so high, and I just wasn’t going to make another record unless it was kind of the fantasy record, the fantasy blueprint.
Q: You mention that "Rabbits on the Run" was inspired by the novel "Watership Down." Which character from the novel would you say that you identify with the most and why? - Michael Ceken
A: I feel like Fiver and Hazel represent parts of the ego, they’re two sides of your self. They’re two ends of the spectrum, creating the whole. I think their relationship was supremely important to me and I see myself in both of them. I think we strive in the end to arrive where Hazel arrives, his moment of enlightenment. He would not have gotten there without Fiver’s nervous energy and antsy nature.
Q: You tweeted about making a song called "Moneymaker" a while ago. What happened to this song? Why is it not on Rabbits on the Run? Will we ever get to hear it? - Andrew Kulp
A: I think we started weaving on a different loom when we started arranging that song. It actually led me to things that may be an electronic project that’s on the horizon for Steve Osborne and I. I’ve never said that before but I’ll just put it out there.
Q: Will you be coming to the UK for your autumn tour? A lot of people seek an answer to this question. - Jess Bromage
A: I can’t imagine not. It would break my heart if I didn’t. I’m doing everything I possibly can to put something together so that it works, so that the model works. It would be weird for me not to go over there. This was created in England so I will be back.
Q: Which of your albums is your favorite? - Erik Meers
A: This one because it is the most honest through and through. There are moments on each record that I like a lot. This one as a whole is a flushed out body of work. Through and through, it is the most honest thing I’ve ever done. Also, I got more healthy as a person because of it. It was a catalyst for a complete restoration for me. So it had a huge impact on me in that way.
Q: Some of your songs speak of independence and having the strength to just be yourself. Would you consider yourself a feminist? - Scott Sims
A: In a way, yes. I think I define it in my own way. If you want to generalize, then yeah. I don’t like the label in general.
Q: Will you ever release some of your unreleased songs? Such as All is Well, Morning Sting, and Ameriteen. - Angelo Giusti
A: I don’t know. I gotta revisit those and figure that out. Maybe. Never say never.
Q: How do you get the inspiration for your song melodies? Is it more of the process of experimenting at the piano or is it dependent on external influences? - Leonard
A: You know, it’s just so difficult to articulate because it’s very special. I think in another art forms – if you’re drawing, it’s like why are you going to let your pen go there? Why do you want it to curve that way? Why do you want to shade it this way? You just want to. Sometimes melodies come when I’m at the piano because it’s all relative to what I’m piecing together with my fingers. Sometimes I just hear one note and my brain goes someplace else, weaving together. It’s a loom, like a melodic loom. That’s really difficult to articulate. I hope it doesn’t go away! I don’t think it’s going to; it’s been around for a while.
Q: Your music is amazing, you use a lot of metaphors in your lyrics and I become excited when you release a new album, because your song writing grows more and more. My question is, where do you get the inspiration from whilst writing lyrics? - Ansley Pope
A: With lyrics, I honestly spent so much time fleshing out and being so careful with these lyrics. Books and journals of poetry and stories—the most finely crafted approach I’ve ever had with lyrics. It’s really easy to just get, not lazy, but you fall into “well, I’ve been singing this way for so long, I should just to stay this way because it’s what I’m used to.” Or “this sounds good.” Sometimes you just go with something because it sounds good and that’s not the kind of record I wanted to make. Maybe the words synced well but if it’s not the most articulate or honest thing to say then don’t say it. I just wanted these lyrics to really be able to exist on their own, to be strong as their own element without the music Sometimes you peel the lyrics away from the music, it’s really weak writing. It’s a work in progress but I think I’ve gotten better over the years.
Q: You have stated that you almost didn't do this record. Why is that? What will be the deciding factor if you do another record after Rabbits on the Run? - Richard Otter
A: I’m not in the headspace yet to consider post-“Rabbits.” I’m completely immersed in this rabbit hole. So that answers the second question. Regarding the first question, I basically had slowly been moving away from making the types of records I really wanted to be making. I don’t want to undermine the work I’ve done. There are elements of myself in everything I’ve done. But as a whole, in terms of a body of work, I would get to the finish line on the record — you just end up with something you didn’t plan for. Not that that can be a negative. Sometimes those natural unfoldings of something you didn’t expect are really important. I just lost the blueprint, it wasn’t clear to me anymore. That’s my fault, that muddiness. When you set out, it’s so clear that kind of record of you want to make, you end up with something else. And I just didn’t want to do it anymore. I was extremely frustrated as to why that kept happening. I am the common denominator in that so I had to figure out how to fix myself and change my process completely. I realized that the only way I could make another record was to fix that. It came to be that this record came out of complete necessity. I realized that the standard was so high, and I just wasn’t going to make another record unless it was kind of the fantasy record, the fantasy blueprint.
Q: You mention that "Rabbits on the Run" was inspired by the novel "Watership Down." Which character from the novel would you say that you identify with the most and why? - Michael Ceken
A: I feel like Fiver and Hazel represent parts of the ego, they’re two sides of your self. They’re two ends of the spectrum, creating the whole. I think their relationship was supremely important to me and I see myself in both of them. I think we strive in the end to arrive where Hazel arrives, his moment of enlightenment. He would not have gotten there without Fiver’s nervous energy and antsy nature.
Q: You tweeted about making a song called "Moneymaker" a while ago. What happened to this song? Why is it not on Rabbits on the Run? Will we ever get to hear it? - Andrew Kulp
A: I think we started weaving on a different loom when we started arranging that song. It actually led me to things that may be an electronic project that’s on the horizon for Steve Osborne and I. I’ve never said that before but I’ll just put it out there.
Q: Will you be coming to the UK for your autumn tour? A lot of people seek an answer to this question. - Jess Bromage
A: I can’t imagine not. It would break my heart if I didn’t. I’m doing everything I possibly can to put something together so that it works, so that the model works. It would be weird for me not to go over there. This was created in England so I will be back.
Q: Which of your albums is your favorite? - Erik Meers
A: This one because it is the most honest through and through. There are moments on each record that I like a lot. This one as a whole is a flushed out body of work. Through and through, it is the most honest thing I’ve ever done. Also, I got more healthy as a person because of it. It was a catalyst for a complete restoration for me. So it had a huge impact on me in that way.
28
General Vanessa Carlton Discussion / FashionSpot Interview.
« on: June 14, 2011, 07:27:39 am »
In this day and age of manufactured pop, it's always refreshing when someone like Vanessa Carlton, a singer-songwriter and pianist, comes along to remind us that it's not all about over-the-top sets and flashy back-up dancers. As down to earth as you’d expect, she is now hard at work promoting her upcoming album "Rabbits on the Run" and its lead single "Carousel" with a music video inspired by vintage fashion editorials (below). How did her new music video inspiration take shape? What red carpet moments does Carlton regret? What fashion item is the singer lusting for? Find out all this and more…
The Fashion Spot: How does your day-to-day style differ from what you're wearing when you're performing?
Vanessa Carlton: Mmmmmm.....depends on the show. Sometimes the shoes get higher and the silhouette gets streamlined so that there's a flattering line on the stage, but my aesthetic in the day into night is the same.
tFS: How important is comfort when you're getting dressed?
VC: Well, when I head to and from ballet class – hopping on subways and trudging up rind covered concrete stairs – I like to throw on an easy peasy flowy dress and roper boots. Depends on my destination. Sometimes the vibe you want to project or the joy you feel when you put a certain thing on overrides the PAIN.
tFS: Do you follow trends? Any you particularly love or hate at the moment?
VC: I've been wearing my mom's Coach bag from '79 over my shoulder for 3 years. The leather is literally turning into spaghetti threads. Beautiful hardware. Simple design. It cuts through all IT bag trends and now Coach is resurrecting all those pieces of timeless loveliness.
tFS: You've traveled all over the world. What are some of your favorite shops and brands?
VC: For backpack, it's Victorinox. Chocolate is Vosges. For chess boards, the bazaar in Cairo. For antiques, the Armory in Newport, RI. For sick treasures and Rodarte, Opening Ceremony. I also like really sharp Japanese knives and very old wooden boxes. KD Dids knits, Freed of London is the best pointe shoe, and Swanson wines. For a unique spectrum from '30s dresses to wolf rings to vintage Yves Saint Laurent, I turn to my friend/costume designer/stylist Tracey Moulton. She doesn't name her secret rabbit hole sources..."dealers"! Gah!
tFS: The video for your new single "Carousel" is inspired by vintage fashion editorials. What decade? How did that inspiration take shape?
VC: Part of the visual is an ode to Stevie Nicks. The mood board was a mix of images from the 70s. The photography that I cherish so much — grainy and saturated. Analogous to a vinyl record. Going back to the effortless nature-worshiping timelessness of singer-songwriters from that time is what my team and I gravitate towards. Also pictures in the vinyl artwork of the self titled Crosby, Stills and Nash album...that was a serious totem.
tFS: Music videos seem to be a dying art. How important are they to you as an artist?
VC: I don't think they hold the place in pop culture that they used to. My approach is this: try not to contribute to mediocrity. Videos are tough. Budgets are small. Which perhaps leads to extremes. Either very cool and creative or pure badness.
tFS: Do you have any style icons?
VC: Lily Bart from the House of Mirth and Stevie Nicks
tFS: Have you had any red carpet moments you regret?
VC: Essentially every moment on the red carpet I've ever had before 2007-ish is an embarrassment. I don't think I plugged in to who I am and really took the time to think through my choices until recently. That's a fantastic excuse for shitty decision making.
tFS: What's your most treasured fashion piece or accessory?
VC: A sequined lace, floor length black jacket that Ms. Nicks gave me from her Bella Donna days.
tFS: Any fashion item you're lusting for?
VC: A Missoni bikini
The Fashion Spot: How does your day-to-day style differ from what you're wearing when you're performing?
Vanessa Carlton: Mmmmmm.....depends on the show. Sometimes the shoes get higher and the silhouette gets streamlined so that there's a flattering line on the stage, but my aesthetic in the day into night is the same.
tFS: How important is comfort when you're getting dressed?
VC: Well, when I head to and from ballet class – hopping on subways and trudging up rind covered concrete stairs – I like to throw on an easy peasy flowy dress and roper boots. Depends on my destination. Sometimes the vibe you want to project or the joy you feel when you put a certain thing on overrides the PAIN.
tFS: Do you follow trends? Any you particularly love or hate at the moment?
VC: I've been wearing my mom's Coach bag from '79 over my shoulder for 3 years. The leather is literally turning into spaghetti threads. Beautiful hardware. Simple design. It cuts through all IT bag trends and now Coach is resurrecting all those pieces of timeless loveliness.
tFS: You've traveled all over the world. What are some of your favorite shops and brands?
VC: For backpack, it's Victorinox. Chocolate is Vosges. For chess boards, the bazaar in Cairo. For antiques, the Armory in Newport, RI. For sick treasures and Rodarte, Opening Ceremony. I also like really sharp Japanese knives and very old wooden boxes. KD Dids knits, Freed of London is the best pointe shoe, and Swanson wines. For a unique spectrum from '30s dresses to wolf rings to vintage Yves Saint Laurent, I turn to my friend/costume designer/stylist Tracey Moulton. She doesn't name her secret rabbit hole sources..."dealers"! Gah!
tFS: The video for your new single "Carousel" is inspired by vintage fashion editorials. What decade? How did that inspiration take shape?
VC: Part of the visual is an ode to Stevie Nicks. The mood board was a mix of images from the 70s. The photography that I cherish so much — grainy and saturated. Analogous to a vinyl record. Going back to the effortless nature-worshiping timelessness of singer-songwriters from that time is what my team and I gravitate towards. Also pictures in the vinyl artwork of the self titled Crosby, Stills and Nash album...that was a serious totem.
tFS: Music videos seem to be a dying art. How important are they to you as an artist?
VC: I don't think they hold the place in pop culture that they used to. My approach is this: try not to contribute to mediocrity. Videos are tough. Budgets are small. Which perhaps leads to extremes. Either very cool and creative or pure badness.
tFS: Do you have any style icons?
VC: Lily Bart from the House of Mirth and Stevie Nicks
tFS: Have you had any red carpet moments you regret?
VC: Essentially every moment on the red carpet I've ever had before 2007-ish is an embarrassment. I don't think I plugged in to who I am and really took the time to think through my choices until recently. That's a fantastic excuse for shitty decision making.
tFS: What's your most treasured fashion piece or accessory?
VC: A sequined lace, floor length black jacket that Ms. Nicks gave me from her Bella Donna days.
tFS: Any fashion item you're lusting for?
VC: A Missoni bikini
29
General Vanessa Carlton Discussion / "Dear California" the next single?
« on: June 14, 2011, 01:49:06 am »
The label just put this up:
http://www.youtube.com/watch?v=8IO09MeZ4dg&feature=feedu
What do we think?
http://www.youtube.com/watch?v=8IO09MeZ4dg&feature=feedu
What do we think?
30
General Vanessa Carlton Discussion / Vanessa will be performing on the Jay Leno show. 07/27/2011
« on: June 06, 2011, 09:01:54 am »
In July.
http://www.nbc.com/the-tonight-show/video/episodes/wednesday-july-27-2011/1343638?tin=2311
Quote
Carlton will perform on The Tonight Show with Jay Leno in July in support of the album as well.
http://www.nbc.com/the-tonight-show/video/episodes/wednesday-july-27-2011/1343638?tin=2311