Singer/songwriter Phil Vassar started the decade as a popular songwriter and he is leaving the first decade of the 21st Century as one of the genre's best artists and one of the few who use the piano as their main instrument of choice. In this interview, Phil Vassar discusses his career, writing process and the state of the industry, along with his new album (to be released December 15, 2009), Traveling Circus.
Blake Boldt: It’s been ten years since you were named ASCAP Songwriter of the Year. How do you think you’ve developed as a songwriter since winning that honor?
Phil Vassar: I think I’m better. (laughs) No, as you do it more, you get better at it. It’s like building cabinets; the more you build, the better you become. Or piano playing or whatever it is. I think I spend less time on the bad songs and focus more on the good ideas. As an artist, you learn how to write compassion. You know, at the beginning, you’re just looking for that hit. Now when I’m writing I think about what’s important and what’s pertinent in my daily life, whether that be a breakup or something I read in the paper.
Blake: How does your writing process begin? Do you have a melody in mind or is the lyrical idea your first thought?
Phil: Both. I mean, most of the time I will sit down at the piano and have no idea whatsoever. I’ll just find a melody I like and then it just rolls off the tip of my tongue. I just take what happens in everyday life, in my situation and work it out.
Blake: Obviously, your success as a songwriter helped you in securing a record deal, but, given the youth movement on Music Row, was there any resistance ten years ago when you were being signed as a man in his thirties?
Phil: Look, there’s always gonna be your teenybop stars---Paul Anka, Elvis, the Beatles. Artists grow up and become who they are and your audience hopefully grows up with you. It’s a whole different world now. I think it’s awesome. Young kids are singing about high school and I’m writing about my own thing. I don’t have to be anyone else.
Blake: Lately, a number of traditionalists have questioned the direction of country music. Given your broad range of influences, what’s your take on Music Row’s current state?
Phil: I think it obviously works. I think we’ve always had the argument about “What is country?” It’s all about singers and songs. Country is whatever you think it is. It used to be that it all sounded the same, especially the guys, and they slapped hats on ‘em and put ‘em in starched jeans.
It’s funny, and this is a story that happened several years ago, but my buddy’s son---we were in the car at the time---and he was three years old. We were listening to the radio and he asks us, “How come the same guy sings all the songs on the radio?” That was really eye-opening. We went through a period when everyone tried to emulate Garth and George Strait. I think different is good. If everyone tried to sound like Johnny Cash, that would suck. There will never be another Johnny Cash. Same thing with Merle Haggard, Willie Nelson and all those guys. Back then, they were considered radical for their time.
Blake: And your thoughts on the music business in general?
Phil: The record business is sick; the music business is still great. Everyone still loves music. I think in the next few years we’re going to see something drastic. And it’s probably for the best. It’s been such a screwed-up business. Now I’m producing my own music, I developed my own video, without the help of the record label (Universal South). I love the folks at the label---Mark (Wright) and Fletcher (Foster) have done a really great job. And they trust me to do my own thing and it’s great to have that freedom.
Blake: Traveling Circus was originally slated for a February release, now it’s scheduled for December 15…
Phil: Basically, the folks at the label want to get the numbers up before the end of the year. There it is, right there. It’s not like before when we’d have a single in the top ten before we’d put out an album. It’s not the best for me, but I’m not going to complain about having new music out there. I’m looking forward to it.
Blake: I’m reminded of Jo Dee Messina, whose career you had a big impact on, and her difficulty in getting an album out after five years.
Phil: Yeah, it’s tough. Again, the (record) business is bad, but I’m really excited for this album.
Blake: Traveling Circus is a very “glass half full” album. When you embark on the creative process, is this a conscious decision or is it just a natural way of writing for you?
Phil: In life---I live a happy life. I could be happy or I could be sad. We all have bad days, you know. But I’m a blessed guy; I’ve got two great kids that I love. I can sleep well at night. Even sad songs, I try to put a positive spin on them.
Blake: Is there one song that embodies the theme of this album for you?
Phil: “Life”---it was the last song written and the first one on the album. You know, with this record, there’s the circus theme obviously, with the clowns and the death-defying acts and the shooting of the cannons and so many ups and downs throughout. It really sums it up. That’s life.
Blake: A little off topic---you’re currently serving as an ambassador for Red Roof and Feeding America. Tell me a little about your experience with these organizations, especially in regards to the holiday season.
Phil: Yeah, I’ve been in those warehouses and seen where the food’s stored and packed boxes and helped feed these kids. I love these organizations. If people could just donate their time and a little bit of money, it’d be a big difference. People from every walk of life are there. It’s a great feeling to help these kids. And it’s all on a local level. You know, we can go save the cockatoos over in Africa, but I just think we need to start a home. To sit there with 15-20 kids and their parents say, “I don’t have any money to feed them,” it’s hard. And these are people in your neighborhood that are struggling.
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