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Interview with Eric Gibson of The Gibson Bros.

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Saturday’s DC Bluegrass Festival will be co-headlined by two of bluegrass music’s hottest acts: Claire Lynch and the Gibson Brothers. Eric and Leigh Gibson recently released their tenth album, Help My Brother, and it’s zooming up the charts, not to mention burning up the WAMU Bluegrass Country airwaves. We got the chance to chat with banjo player Eric about the new record, the upcoming festival, and Tom Petty.

American Noise: Help My Brother is your tenth album. How have the Gibson Brothers evolved since that first record?

Eric Gibson: I think we’ve become hopefully stronger in every aspect. I know we’ve become stronger singers. We really keep our ears out for one another, particularly on the last couple of albums: we’ve begun singing on one microphone, laying down our harmonies at the same time. I think we’ve become better musicians and better writers. I think we know what to throw away and what to keep, and I’d like to think we know how to make a record. Unfortunately, you lose your youth, but you gain other things (laughs).

AN: Growing up in upstate New York, how did you and Leigh first get into bluegrass music?

EG: My father liked bluegrass—Mom and Dad liked a lot of different types of music, but I remember Dad listening to bluegrass on the radio on the weekends. I have to be honest with you: I didn’t care for it so much. As a kid I preferred hearing Don Williams and Merle Haggard. But then there was a guy giving banjo and guitar lessons at a local music store and we had a banjo and guitar in the house. For some reason, I chose the banjo; I always liked the sound of one. Then I got hooked on Flatt & Scruggs; their Live at Carnegie Hall album really hooked me on bluegrass. Leigh came along for the ride, and we’re still doing it, 25 or 28 years later!

AN: How old were you when you two began singing together in public?

EG: We started taking lessons when I was 12 and he was 11. We didn’t start singing until a few years later. We started playing in church: we were learning hymns on our instruments and we’d do instrumental versions of the hymns. People were very nice—they put up with it and seemed to like it—and our minister finally said “People like words. Words are important.” So we started singing. It was just a terrifying experience, singing in front of people during those early years. But people were so nice, and [that] encouraged us, and we gradually gained confidence.

AN: What’s the songwriting process like for you?

EG: What works best for me is getting up early in the morning, putting on some coffee, and writing. But that doesn’t necessarily fit into my lifestyle right now. I’m not putting this type of writing down, but I just can’t seem to get into [the routine of] “I’m going to write a song today.” What usually happens is I’ll get an idea, jot it down, and get back to it later…or I won’t (laughs). Maybe I should hunt it down more than I do.

For the last couple years, Leigh and I have done some co-writing, and I respect the process. It’s not easy. It takes talent to say “We’re going to get together and write a song today.” We did a couple of co-writes on our new record, one with Tim O’Brien and one with Jon Weisberger, and they both turned out well. I’m not afraid to try that, but most of my songs [get written] when I get an idea and work on it when I can.

AN: “Want Vs. Need” is one of the record’s best songs. How did you and Leigh end up writing with Tim O’Brien?

EG: We approached him. We had wanted to approach him years earlier—he’s such a big hero of ours. We were a little in awe. Finally, a mutual friend said “Email [Tim]; he’ll get back to you.” And within fifteen minutes, he emailed us back and said “Sure, I’d love to write with you guys.” He was just so good; he ended up having so many good ideas and threw out a lot of things that I would have kept. You can’t help but improve by being around people like that.

AN: On your last couple records, I’ve really enjoyed your take on several Joe Newberry songs. When it comes to selecting material, what do you look for in a song?

EG: I like a melody that’s catchy and I like good, honest songs. Joe is one of my favorite writers; one of the best things that’s happened to us in the last few years is meeting Joe Newberry. His songs sound new and old at the same time. When we first met him, we were jamming together and he was singing some great songs that I thought were something I’d never heard by the Carter Family or something. I thought they were 100 years old, but they were his songs. The older Leigh and I get, the more we seem to be getting into an old-timey frame of mind. Joe comes from the old-time world, and his songs seem to fit with what we’re trying to do.

AN: I miss having a Tom Petty cover on Help My Brother like the last two Gibson records. What happened there?

EG: You missed them?! (Laughs) Honestly, Leigh and I love Tom Petty so much, but I don’t want to get into the rut of feeling like we need to have an obligatory rock cover. I think Tom Petty is such a great artist and a great writer; you’ll probably hear another Tom Petty song somewhere down the line, but I don’t want to get too predictable.

AN: What would be your favorite Tom Petty song if you had to choose one to cover?

EG: I love “Wildflowers.” I love that whole album, actually. I’ll probably cut that one with my sister; she’s a really good singer and we’re trying to get her to do an album. I made her learn that song (laughs). I couldn’t tell you my favorite Tom Petty song; he’s one of my favorites, right up there with Merle Haggard, Ricky Skaggs, and Emmylou Harris.

AN: You guys got to sing with Ricky on “Singing As We Rise,” which was fantastic.

EG: Ricky’s as good as it gets. We’ve worked with him before: we actually made a country record with him on his label, but it never came out. We got that Joe Newberry song and I could just hear Ricky Skaggs doing it, so I said “Let’s give him a call. The worst he can say is ‘No.’” And he said “Yes.” It’s a feather in our cap to have Ricky sing with us; we’re real thankful that he did that.

Claire Lynch is another hero. We’ve loved her voice forever, we asked if she’d sing on our record, and she said she would. We’d forgotten about that song “Talk to Me;” Leigh wrote it a decade ago, and a friend of mine had a demo of it. He gave it to me one day, and I put it in the van’s CD player; we were all like, “Wow, where did this come from?” And Leigh said “When did I write that? I guess I wrote that.” We thought that would be a good one to have Claire on. But she could sing the phone book and I’d listen.

AN: The Gibson Brothers and Claire Lynch happen to be co-headlining the DCBluegrass Festival this weekend. Any chance you guys will sing together there?

EG: Maybe. We haven’t crossed paths since recording [“Talk to Me”], and I haven’t asked Claire yet. I would like to get the chance to run through the song before we’d do it onstage. She mentioned one time that we should work up some songs together because we’re on the same bill. We get along together really well. Whenever we’re at the same festival we’ll stay up late and sing with her.

ANDC has such a rich bluegrass history. Is there a group or artist from the area that has especially influenced you?

EG: There are a lot, but the two that stand out most for me are the Johnson Mountain Boys and the Seldom Scene. I had a chance to guest DJ on North Country Public Radio the other day with my friend Barb Heller; she turned it over to me and I played a couple Johnson Mountain Boys songs; I could have played them all day and been happy. I told someone the other day that nothing in rock ‘n’ roll has ever rocked any harder than the Johnson Mountain Boys did (laughs). We loved the Seldom Scene growing up; Leigh and I had a lot of their records. The harmonies and their song choices—they were just so cool and different from everybody else.

We’re honored to be playing in that area. The first few times we came to the DCarea, I couldn’t get those things out of my head. Knowing the history of the area, I was a little intimidated. Now I just try to play; we’ll be whoever we are and not worry about it, but it was intimidating at first.

AN: If someone’s new to bluegrass music or to the Gibsons, what’s in store for them if they check out your set on Saturday?

EG: I think bluegrass is best listened to live. You can get the flavor of it by listening to records, but there’s something about bluegrass live that is so exciting, at least it is for me. There’s nothing on that stage that’s hidden by any kind of effects. If you can play it under a tree, you can play it on that stage. It’s simple music, but…the excitement of live bluegrass is hard to beat.

AN: Looking ahead, what’s next for the Gibson Brothers?

EG: We have a busy touring schedule ahead of us. The album has been getting good reviews and a lot of airplay, and that translates into work. We’re always happy about that; we need to work. We’re going to be playing all over the country, and in June we’ll be going to the Yukon Territory to play. We’ll go to Vancouver Island, then off to California. There’s a lot of work on the horizon, and hopefully a lot more writing and a lot of new songs.

I’m really excited about our band. I’ve never had a band this strong. We’ve had the same lineup together for three years. Four of us have been together for seven years, and three of us have been together for eighteen years. I’m excited to step on stage every single night with these guys. It feels like we’re locked in; we’ve been doing a lot of playing and there’s nothing like a lot of playing to lock you in.

AN: And nothing against [the band’s previous mandolin player] Rick Hayes, because he’s great, but [new mandolin player] Joe Walsh is a wonderful addition. He’s really added a lot of punch to the band’s sound.

EG: We’ve had a lot of great guys come through the band through the years, and I couldn’t be happier with Joe’s contribution. I’ve never seen a guy who can find a melody as quickly as that guy can: he hears it and it’s automatically coming out of his fingers. He’ll try a song and it’ll sound like he’s been playing it for years. All the guys are very team-oriented; they all serve the song. Mike Barber is so solid on the bass without getting in the way of the vocal. He’s our rock. Clayton Campbell is a fiery fiddler who’s sensitive when he needs to be as well. I hope I’m not coming across as bragging. I’m not bragging about me; I’m bragging about these guys in the band. And I always love singing with my brother. He’s as good as it gets. I’m excited to play every night, and especially looking forward to Saturday’s DCBU Festival. It should be a lot of fun.

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Interviews

Interview with Vince DiFiore of Cake

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It would be an understatement to say that 2011 is going pretty well for Cake: the sardonic rock band’s newest album, Showroom of Compassion, debuted at #1 on the Billboard charts, and they’re about to embark on a string of sold out shows (of which the 9:30 Club will host three). We got the chance to chat with trumpet/keys player Vince DiFiore about Showroom, the band’s solar powered studio, and where the band’s going next.

JULI THANKI: You’ve been with Cake since the beginning. How has Cake evolved in the past 20 years?

VINCE DIFIORE: The electric guitar was bound to creep in and become stronger; it was so restrained on the first album and the second album, too. There was a very deliberate restraint that didn’t want to be restrained, because it’s an electric guitar. Given time, that sonic expression of the electric guitar is going to make its presence felt to a greater degree. I think it’s the nature of the beast and probably something that had to happen.

I became the default keyboard player in the band starting with “The Distance” synthesizer line. When it dawned on me and everyone else in the band that I was playing keys, we started adding a lot of keyboards in the studio because we had somebody to play them. It was like we added a keyboard player. The first album has instrumental organ parts that we didn’t really play when we played those songs live.

The third part of that answer would be the background vocals. We have always had harmony vocals but I think we really stepped it up as other band members have been in the band longer. Once you find your voice in the band, maybe even through your instrument or how you identify yourself in the band, then the vocals come. There’s something singing that’s very personal, and you have to mean it. All five of us are singing onstage now. Victor [Damiani], our old bassist, never sang, and Gabriel [Nelson, the current bass player] sings. That’s been a huge difference.

THANKI: Aside from the B-side comp, this is your first record since Pressure Chief in 2004. Why was there such a long gap in between records?

DIFIORE: We toured on Pressure Chief for two and a half to three years, going all over the world touring, then resting for a while. It became a lot of business details with record labels and stuff. We made the decision to leave Columbia Records and started Upbeat Records and put out B-Sides and Rarities. We did a little bit more touring for that. Then we took about three years to make this last record. We did gigs here and there to keep being a band that plays and has a connection with an audience. We communicated with each other musically and through the website to get us all on the same page and have a similar worldview. We weren’t on a deadline; there wasn’t a record company saying “Your three years have passed. Where’s your next album?” It was up to us. We knew that if we were putting out an album we want it to be an album that we can really stand behind. So we took the time to do that.

THANKI: What else do you dig about having your own label? Is it mostly the freedom?

DIFIORE: It’s a lot more freedom. There’s a feeling of helplessness in anything if you don’t have control over the situation. It’s probably why couples fight so much and why there’s antagonism in business relationships, because you want to determine the outcome of something and say how much of your life is going to be committed to something and hope that the commitment turns out to be some sort of self-fulfillment also. When you’re living like that and you don’t have control, it makes you feel helpless. We’re experiencing the opposite of that now in terms of calling the shots. There’s a lot more administration that needs to happen, but we have a very good manager and a very good distributor. Everybody put their best foot forward and had all the pistons firing at the same time.

THANKI: I heard you guys have a solar powered recording studio. Tell me a little bit about the decision to go green in that aspect of the band’s career.

DIFIORE: We figured how much energy we would need to rehearse and record and then put thirteen solar panels up. Lo and behold, we did the entire album with solar energy. I think it changed the way we felt about being in the studio. It was a really good move. It assuages some of the guilt of being on the road and consuming energy and traveling about and using hotels and all that. Everybody is an energy consumer if you want to participate in society; that’s the way things seem to be running. That made us feel a little bit better about [the band’s] carbon footprint.

THANKI: Cake plays DC fairly often. I don’t know how much free time you have, but do you have a favorite thing about the city or a favorite part to visit?

DIFIORE: You know what’s remarkable? The amount of space there is. You’d think it would be a crowded place like New York City or Boston or Philadelphia. Those places are roomy, but when you’re out on the Mall, there’s so much space around you. There’s not much difference in the Mall when there’s no one on it and a weekend in the summer when everybody’s there. Things are still working out. I feel so safe at night. I love to go out on the Mall at night on a bike or walking; it’s so open and peaceful out there.

THANKI: You’ve got a couple co-writing credits on Showroom. How involved do you get in that process?

DIFIORE: John wrote the words for those songs. He came in with the words and melody; I got credit because I came up with a lot of parts for the arrangements. He was nice enough to give me credit on there, and I think I deserved it (laughs). I did write a lot of the music around the melody. You want something that’s interesting both melodically and rhythmically and that goes along with the song. A lot of the process is intuitive, just doing it, then stepping back and then doing it again until everything seems to work.

THANKI: Where do you see the band going from here?

DIFIORE: I liked how everybody worked together on the last album and how everybody felt confident about bringing what they liked about music into the band. That was really great. Nobody was shy about their contributions. We all played how we wanted to play, and there was a great chemistry working out. If we do that for the next record then no matter what we bring in, it’ll be something good. It might not be different [stylistically]. It will be a different experience certainly, but the precedent that The Beatles and The Police set for changing their sound on every album is pretty freaky, you know? (laughs)

I think our strength is writing songs within an album. The sound works out for us. It’s guitar-bass-drums-trumpet-keys-vocals, and that’s what we are. I don’t think we’re going to bring in any kind of robot to play synths or Xan’s going to turn into a classical guitarist or we’re going to start playing like U2. It’s going to be the same effort if we are so lucky to get together and make more music.

THANKI: As a big Louvin Brothers fan, I was so glad to see you guys touring with Charlie Louvin a few years ago. Whose idea was it to bring him onto the tour?

DIFIORE: That was John’s idea. I’m so glad that so many people were introduced to Charlie Louvin’s music; that’s a great thing. He was fun to be around. It was important for him to be funny. He always had some jokes. He was a very friendly guy. I actually visited him in his museum that he had near the Grand Ole Opry in Nashville. He just hung out there during the day; you could go in and see the Louvin Brothers’ stuff and talk to him and get photos with him. He was really a good person to be around. The Louvin Brothers were the Everly Brothers’ favorite band, which says a lot. They had those really sweet vocals and wrote incredible songs and harmonized really well together. It’s a beautiful thing when brothers are singing like that.

THANKI: Were you a fan of their music before touring with Charlie?

DIFIORE: I knew of the Louvin Brothers from when we were on the road; we had mix tapes and mix CDs in the van and John loved “The Great Atomic Power,” which I heard on the way to Portland once. I clearly remember going over the bridge over Lake Shasta and hearing that song. It’s a good memory. There’s a bunch of great Louvin Brothers songs, but there was about two or three that I knew before we toured with him. It was really special. What a great experience to have.

THANKI: We’re about out of time, but thanks so much for talking with me, Vince.

DIFIORE: Right on. I appreciate the interview. Have a great day, and we’re looking forward to being in Washington, DC again.

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Blake Shelton: New Album, New Format, Newfound Focus

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On March 2nd, country superstar Blake Shelton released Hillbilly Bone, the first in a planned series of two 6-song releases dubbed “Six Paks.” The second, as-yet untitled Six Pak is tentatively scheduled for August.

The move is an apparent attempt by Warner Bros. to shake up the stale album release formula that has contributed to more than a decade of declining album sales. The two half-length collections–which Warner Bros. adamantly opposes referring to as EPs–will serve in place of a new Shelton full-length album, the most recent of which was released in 2008.

Last week I had the opportunity to chat with Shelton about what this new format means for him as an artist.

JIM MALEC: Will these so-called Six Paks be digital only, or will there also has a physical version available in stores?

BLAKE SHELTON: There’ll be a physical product in every normal retail store where you’d find music.

JM: From a business and career standpoint, what’s the reasoning behind this substantial shift in formats

SHELTON: Not only do I not really know, I don’t even care. (Laughing) That’s a record company dilemma. They’re the ones that came to me and told me about their idea and about what they’d like to try to do. They asked me if I’d be ok with it.

I came back with, “absolutely.” The more I thought about it, you know, I could see the advantages for me, and for my fans. This will make it easier to get music to my fans—and at a lower cost. Honestly–and I don’t want to speak for all artists in Nashville ‘cause I know there are some that it does make a huge difference with–almost 100 percent of my income comes from touring. So I’ve never once wondered or thought about how record companies make a profit, or how much they make off a 16-dollar album versus a nine-dollar album versus a six-dollar album. That’s never been something I’ve thought much about because that’s never something that’s been a big part of my world.

Obviously, I pay attention to how many records we sell. That’s always something I keep track of. And, of course, I keep track of what our singles do. Because those things support my touring.

JM: What would you say is more important to you, then, as far as your touring and your profile as an artist: Is it country radio supporting your singles, having new music available on a regular basis or albums sales?

SHELTON: A combination of all of that. When you release a new record, there’s a lot of publicity that comes along with that, which, in turn gets me on television a lot more. That, in turn, may make someone out there pick up the phone and go, “Hey man, I heard Blake sing his new song on television this morning and I wanna hear it [on radio].” It starts getting that ball rollin’. It all matters to my world, as far as touring goes. A big hit single out on radio may be the best thing of all.

But as far as how they make money on those things, I’d probably kill myself before I was satisfied with knowing how that all works.

JM: So let’s talk about it from an artistic standpoint, then. How do you approach choosing songs for a six-song album? And how is that different, or not different, than choosing songs for a “full length” album?

SHELTON: We were already workin’ on a record, and we were right in the middle of it when we decided that we were gonna do this thing. So we had more than six songs recorded already. So, what we decided to do was make the most rounded album we could make with six songs.

We said, let’s make it as good as we can, and the things we don’t use for the first one will be our starting point for the next one.

That’s what we did. And, obviously, I’ve always been a guy that has four or five ballads on each album. Well, clearly you can’t do that with only a six-song album. So “Hillbilly Bone” was set to be the first release, and we had another song recorded called “Kiss My Country Ass” that I knew needed to be on this first record because it fit so will with “Hillbilly Bone.” And the record kinda started becoming this little piece of attitude. It was an in-your-face, redneck anthem type of album.

We just decided to go down that road with this particular record. There’s only one ballad on the album, and one mid-tempo, and the rest of ‘em are all up-tempo, fun, party, drinkin’ songs. Which is new for me also, just to kinda go there. To completely go there with my music.

JM: Do you feel like this format for a record gives you more or less artistic freedom? In the future, do you envision each song being recorded as its own, almost one-off project, or will you approach the recording of a Six Pak more as a structured, themed project?

SHELTON: Definitely, each song is under the microscope way more than if you’re doing a 12 or 13 song album. You know this as well as I do—if you’re makin’ a 12 or 13 song album, you end up with two or three on there that probably not only you [the artist] aren’t that crazy about but also that nobody involved is really that crazy about. But you need those extras, you know?

You’re not gonna record anybody’s great songs as album filler. And you’re not gonna waste one of your great ones as album filler. And it’s not that “filler” means “bad songs,” it just means those songs aren’t difference makers.

When we’re doing a record like this, we can’t have one song on there that’s not great. Each song you cut has to have the possibility of being something great. Whether you’re even thinking about getting it played on the radio or not—just like the song I mentioned before, “Kiss My Country Ass.” We know good and well that’s not gonna be played on country radio. But we also know that there’s a lot of other avenues for somethin’ like that. The song will get a lot of attention.

So we had to think about it that way, as each song being really important. Because once they release this thing, they’re gonna go all kinds of directions with songs. There’s only one that goes to radio, so they have a lot of projects to do with the other five songs to get them heard as quickly as possible.

JM: I remember when Rhett [Akins] released “Kiss My Country Ass” as a single–I had the same thought even back then: “There’s no way!” I think I heard it on the radio once, and that surprised me–

SHELTON: –and it was bleeped out!

JM: It was! But on the subject of that song, I read a quote from you that said something to the effect of it represented the kind of artist you want to be. You said that you heard that song and realized it as the foundation for what you wanted to do in the future. Do you remember saying that, and if so, can you expound on that statement? I know you take a lot of pride in being Blake, so talk to me about what that song in particular means to you, personally and artistically.

SHELTON: Well, artistically it…man, here’s the thing: You can exist a long time in this industry by having hit singles. And this, what I’m about to talk about, has happened a lot. I’ve seen it happen to a lot of artists. I don’t want to be one of those artists that was “the guy that sang ‘Austin’,” and “the guy that sang ‘This Song’ or ‘That Song’.” I want people, when this is over, to go “Blake Shelton…” and then remember my songs. Not vice-versa. Not think of a song and then try to remember who sang it.

I guess what I’m sayin’ is that at some point here I came to the realization that I’ve gotta try to step out and become a person that people know what I stand for. I want them to have something they can cling on to, whether they hate me or love me for it. They’ve gotta know who I am. And I finally…well, you gotta figure that out for yourself, first. Then you’ve gotta find a way to get it to the fans. And then you just hope they buy into it.

For me, I just finally started realizin’ some things. I moved back to Oklahoma because I missed bein’ out in the middle of nowhere. I love my friends and my family. I love drivin’ back roads. I love drinkin’ beer. I love that type of thing. So, I guess that’s who I am at the end of the day. And I need to figure out how to connect that with my music.

I’m finally doin’ that.

JM: What is country music?

SHELTON: Country music to me is…oh man, that’s an excellent question.

It’s music that’s about real emotions and real things that real people go through. And real feelings that real people have. That’s the easy answer. To me, the bigger picture is that it’s music that has the ability to adapt. It’s always music that people—generations—take ownership of. They don’t want to let go of their decade, or their two decades. And I love that about it, that each generation has its own decade or so that they’ve staked their claim on. “Man, that was the good years of country music,” you know?

If you look at country music, when it was created and who it was created by, it’s so much different then that now. In so many ways. You’ll hear a lot of people in my parents’ generation bitchin’ about how country ain’t country no more—well, the music they were listenin’ to wasn’t country to their parents. It’ll always be that way, and that’s my favorite thing about country music—if you look at the history of it, from then ‘till now, there really aren’t any boundaries. Because it has its own way of stayin’ true.


This content originally appeared in the country music blog The 9513, which ceased publication in 2011. It was added to American Noise in 2018. 

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Honeyhoney on Hiatus: Revisit our 2008 Interview with Suzanne Santo

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According to lead singer, fiddler and banjoist Suzanne Santo, Honeyhoney isn’t country. But on the Venice CA duo’s debut album First Rodeo, the powerful vocalist and her musical partner Ben Jaffe have crafted a style that is rootsy and rhythmic, one which sounds deeply and naturally connected to the genre’s traditions. Lyrically, the record is stark and raw, marked by moving songs of love, homecoming, fear and anger. That First Rodeo occupies this particular musical space is not surprising given Santo’s influences.

“I love bluegrass, Appalachian type stuff,” she explains. “I listen to a lot of Earl Scruggs and Pete Williams, Johnny Cash. Gillian Welch.”

But Santo has eclectic taste, also citing Tupac and Master P as influences. And while you won’t find anything resembling 90s gangsta rap on the record, it does brush up against jazz, blues, and even ska (on the delightfully frantic “Give Yourself To Me”).

“We weave in and out, like we’re drunk-driving through music genres,” Santo says. “Let’s go a little more rock this time, or let’s go a little more cowpunk. And I like to believe that people will take to our music because of that.”

Finding Her Way, The Hard Way

Growing up in a small town in Ohio, Santo spent her early teens busing tables at her grandparents’ Italian restaurant and dreaming of something different. At age 14, she landed a few small-time modeling gigs, which opened the door to bigger gigs in Chicago and Tokyo. Two years later she was fully immersed in the modeling world and moved to New York City, where she attended a private performing arts school. From a family of modest means, Santo financed her education with the earnings from her photoshoots.

“Pretty much anything I made would go to the school,” she says.

At first, her parents made frequent trips into the city to visit and attend to her business affairs. But the strain of so much travel wore on them. Santo was emancipated when she was 17. She was living on her own and fending for herself. And her modeling work was drying up.

“It was a really hard time,” she says. “My body started to change and I wasn’t landing as many jobs. I had never had to diet before. I had never had to cut back anything that I was eating. When my body started changing and I was getting curvy, I wasn’t working as much and I needed to pay my rent. And the stress it would put on me would be really scary.”

So she tended bar and waited tables at a barbecue joint. She worked as a nanny and a building manager. She struggled to keep things together, and she started mapping out a new path for her future.

“We’re Definitely Not Named After the Abba Song”

While in New York Santo started acting, and her acting aspirations eventually led her to Los Angeles. She even scored a few small roles in shows like Law & Order and Without a Trace. But she was also writing music and performing at open mics around town, which is where she caught the attention of a music engineer known as “The Double” who had worked with Jaffe – a New England native and Gershwin-bred classical music fan who was previously the guitarist for Sonya Kitchell – on a solo project credited as Black Tie Society. The Double introduced the two, and it didn’t take long for a new partnership to bloom.

“We started singing each other’s songs and mushing ‘em together and then we started writing together,” Santo says. By the time the two new collaborators had finished their second song (“Come on Home,” which appears on First Rodeo), they realized that something special was brewing.

“After we wrote that song we thought, wow, this is great. Let’s keep doing this.”

Santo and Jaffe officially joined forces not long after under the moniker Zanzabar Lewis, a title coined from Suzanne’s childhood nickname. After signing with Kiefer Sutherland’s Ironworks Records, the duo wanted to find a name that more accurately reflected the tone of their music.

“We choose Honeyhoney because it’s kinda southern and sassy,” Santo explains. “We’re definitely not named after the Abba song.”

“I Can Smack His Ass Around”

“We’re married without the candy,” Santo says of her relationship with Jaffe, not really joking. “Sometimes Ben and I forget to hang out because we’re so busy. But he’s hilarious. I freakin’ love that kid. But no nookie.”

“Besides,” she says, “I’m about six months older, so that means I can smack his ass around.”

Their personal relationship may be platonic, but First Rodeo is a sexy and intimate record. Jaffe’s churning guitar rhythms complement Santo’s sometimes soaring, sometimes searing vocals. The first single from the project, “Little Toy Gun,” is smoky and dangerous – a modern gunslinger of a track. On “Sugarcane,” the subtle moan of a steel guitar underscores unforgiving lyrics: “You say you’re fine and sigh, sigh, sigh/So when I fuck around, don’t ask me why.”

Like Honeyhoney itself, First Rodeo is hard to classify. It simmers then boils; it whispers then howls. Throughout, Santo delivers stunning performances that will make you wonder why the hell you haven’t heard of her yet.

“When we signed our deal, Ben was teaching music at a store in Redondo Beach, and I was doing all these different day jobs,” she explains. “Before we signed it was really hard to keep our jobs and continue to be busy with music and have time to write and practice. And when we finally signed and got our advances, we were able to live off of music as a job, which still blows my mind. I’m like, holy shit, I don’t have to sell barbecue anymore. I don’t have to watch babies to pay my bills. When you work in the service industry or you’re a teacher it’s consumes a lot of your time and at the end of the day you’re really tired and exhausted and it’s harder to be creative. I feel like we have more room now to be creative.”


This content was originally published in the country music blog The 9513 on November 7, 2008.

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