At some point during their life, most artists must face the reality that fame and fortune are not generally by-products of artistic integrity. Although critically acclaimed going all the way back to his days as frontman for Vigilantes of Love, Bill Mallonee has composed and performed in relative obscurity. That is not to say that Mallonee does not have a committed fan base, because he does. The size of his fan base, however, does not match his prodigious talents as a song-writer and a musician.
Named by Paste Magazine as one the greatest living songwriters, Bill Mallonee has written and recorded nearly sixty albums during his twenty plus career. Touring with his wife, Muriah, he is a true American troubadour, masterfully telling stories of Americana with his guitar, harmonica, and baritone voice. These stories and Mallonee’s voice deserve to be heard by a broader audience, and he is a talent that should be appreciated and enjoyed by more fans of music. Mallonee has cultivated a loyal fan base that enables him to continue to speak and record with the artistic integrity that epitomizes his career, and he is once again asking fans and music lovers to join him in a community effort to make music. To that end, Bill Mallonee graciously agreed to answer a few questions in conjunction with the production of his latest album, Dover Beach.
Every since the 90’s when you were fronting Vigilantes of Love, you’ve had a loyal fan base. With bands like The Avett Brothers and the reemergence of Son Volt bringing more main-stream attention to Americana and Roots music, have you seen an increase of interest in your music?
I suppose so. We had the initial luxury of being on a label. I write about 50 songs a year and have done so since the early ’90’s. A label provided us with good budgets to make great records. We were touring 180-200 shows a year here in the States and in Europe. Quite heady for a l’il rag-tag band from Athens, GA! The ‘day-to-day’ may have been less glamorous, but we loved it!
As a solo artist, you have toured prodigiously. How has the large amount of time on the road influenced and affected your writing?
Well, of course, the road changes you from within. You sense and see the deprivation and the sheer immensity of the land and people. And it somehow calls up a more honest reality within yourself, I think. I got lucky: From the 4 walls of a van and with guitar in hand, I saw and experienced that facet of our culture called ‘The American Experience’.
It was outta the history books now and in our spirits in ‘real time.’ Being an artist offers you that. We were shaking hands with it daily. The folks you meet, the places you go, the dives, clubs and venues you play. All of it part of the narrative that makes us a great, but deeply flawed country. I turned the radio ‘off’ in 1994 after we made our 4th album (Welcome To Struggleville). I didn’t want to hear nor care what was ‘on the charts.’ (or on MTV, back in the day) I purposefully, at some point, wanted to be open to writing about what was going on from within and without.
You’ve utilized the house show format quite a bit; do you prefer house shows, or more traditional concert venues?
As a band the club scene is great. You get to bring the energy. As a solo artist, I’d have to say the house thing is perfect for what I do. Up-close, transparent, you know?
You refer to yourself as a “son of the South,” and in much of your work you explore themes of brokenness. As a “son of the South” who now lives in the Southwest, how has being separated/broken from your regional roots affected your work?
Well, when I say I’m a ‘son of the South’ I am NOT referring in any way to the streak of rampant conservatism that has menaced and plagued it for over 150 years. I am referring to its rich and variegated literary traditions and spirituality. When R.E.M. first emerged on the scene via Murmur in 1982, the term ‘New South’ was bandied about as a way of distinguishing the region from its past. But, even there within 25 years it’s gone from quaint and beautiful to ugly and sprawling, I think. It was time to get outta Dodge. The Southwest has offered a great deal of solitary inspiration. My wife, Muriah and I live in the high desert of northern New Mexico. I miss Athens a good bit. Just a great town with a big heart; I was there almost 35 years, but it was never open arms when it came to my band. We always did world’s better elsewhere.
With a career that spans over 20 years and includes collaborations with music luminaries like Peter Buck, Buddy Miller, and Emmylou Harris, you can rightfully be called a music industry veteran. Why produce your own albums at this stage of your career?
Good question. Here’s the brutal truth: Although we were consistent critic’s darlings, we, as a band and myself as a solo artist, were never connected at all to any ‘industry Insiders.’ And it is an industry of ‘who ya’ know.’ It seemed like every manager, booking agent and label we were associated with betrayed us in one way or another over a 10 year period. I am not kidding. It was enough to make one put up a huge guard. Because the one thing I wanted protected and nurtured were the songs, the art, the writing. In 2001 after the record Summershine, and after all the disastrous relationships with the industry, I basically said: ‘I’m outta here. I don’t need your permission, dear industry, to make music. I’ll do this indie, under-the-radar” and with integrity.’ And that was like 40 albums ago.
You describe the songs that you’ve written for Dover Beach with the word “maturation,” as well as claiming that with this album you believe that you are “bringing it all up a level.” As an artist with over 50 albums under his belt, what is it about this point of your journey that has you using words and phrases that speak of completion?
It’s always about the journey. I’m never static. I think folks will find a rich-ness & lush-ness on the new album that was only hinted at on other records. I’ve worked the field, so to speak, with the standard ‘2 guitar, bass & drums’ ensemble and as a solo-acoustic guitar Troubadour for many years.
But, these days I think I have a better story to tell; a better grasp on what makes me tick. ‘Life’ does that to you. The poverty I’ve experienced over the last 10 years is something I’ve made peace with as an artist. I’m still deeply in the Americana genre, but now, over the last few years, I’ve been able to incorporate a wider palate. Strings, touches of the atmospheric…and a sense (to me anyway) that the lyrics are reaching new veins and truths. A ‘bigger’ world.
What are some musical and literary influences that have played a role in the writing of Dover Beach?
I have never written with a particular audience in mind…ever. I started writing to save myself, so to speak and that is still the reason I pick up a guitar. I’m a Christian-mystic, I suppose. With something of a pagan heart. Living in New Mexico has tied me to the land and the sky in mystical ways. Songs should struggle with the earthiness and inconsistencies of our hearts. You have to leave agendas out of Art or it’s just boring Propaganda. For me, the stuff of light and darkness, faith and doubt dwell in a certain tension. Good music can and really ought to explore the incongruities of living. Good folk & country songs (cheesy ones excluded) do this almost effortlessly. Can never get too far away from the categories of the Bible. It’s philosophic, not religious really. Its mythologies and stories are all of us writ large. We’re ‘in deep,’ so to say. Big picture stories of our births, falls, and alienation from all that is good and one another…and our redemption. Everyone’s redemption. Ms. O’Conner said the South was a ‘Christ haunted’ place. I’ve found that to be true. In a good way.
Others: American author, Frederick Buechner…just an amazing writer; Chilean poet, Pablo Neruda; the novels of Jack Kerouac. Thomas Merton. Steinbeck’s The Grapes of Wrath. I get comparisons to Neil Young a lot. That’s a huge compliment. Neil’s ‘way of doing things’ is just unsurpassed. Lyrically, I think we’re very different. Still a fan of Jay Farrar and Son Volt. John Dowland (English lute player and composer of the Renaissance period) composed beautiful, doleful, instrumental work. He was the depressive rock star of his age.
Are you planning on touring in support of Dover Beach?
Absolutely…We always try and bring the new work back to the people who inspired us in the first place!
Dover Beach is available for pre-order at the links below.
http://billmalloneemusic.bandcamp.com/album/dover-beach-pre-order-here-now
http://volsounds.com/
For more from John Ellis check out his blog: http://conservativesdrinkgoodbeertoo.blogspot.com/