Not Just the
Violin Player: Caitlin Cary Solo Artist
By David Chiu
In life, everybody roots for the underdog--the
person that people hardly notice or take for granted who then
go on to find success through hard work and perseverance. Caitlin
Cary is living proof of that. Her talents were obvious as the
violinist and sometimes vocalist and songwriter of alt-country
band Whiskeytown in the mid-'90s. In contrast to the magnetic
charisma of vocalist Ryan Adams, Cary kept a low profile image-wise
that perhaps brought the perception that she was merely a side
musician, although she and Adams were the only original members
left when Whiskeytown folded in 2000.
While the rock press were gladly riding
the coattails of Adams' career with much hype, Cary quietly embarked
on her solo adventure. Last year she released her first full-length
solo album, the aptly-titled While You Weren't Looking,
a collection of buoyant and reflective country- and folk-inflected
songs. That album enlisted the talents of many people: producer
Chris Stamey (formerly of the dB's), former Whiskeytown guitarist
Mike Daly, and Ryan Adams himself. Despite the impressive players
on the record, it was all Cary, showcasing her gifted abilities
as a thoughtful writer with an intimate vocal delivery, in the
vein of singer/songwriters like Mary Chapin Carpenter and Patty
Griffin. The album and the tour that followed it was met with
praise by both critics and fans; highlights from that year included
opening for Lyle Lovett and appearing on The Craig Kilborn show.
It proved that Cary was not the just the ex-violin player of
Ryan Adams' Whiskeytown, she was Caitlin Cary singer and songwriter.
For any other artist, that type of success
would make one just want to take time to sit on his or her laurels.
Cary was not about to lose any positive momentum from that experience
and continued on making more music. While it took a two-year
beginning period to record While You Weren't Looking, it took
three months to write and record her latest album for the Yep
Roc label I'm Staying Out. The record employed some of
the same people from the last album including Daly and Stamey,
her touring band (keyboardist Jen Gunderman, guitarists Dave
Barthlomew and Brian Dennis, and drummer Jon Wurster), and the
aforementioned Mary Chapin Carpenter who expressed on Cary's
website how much she loved While You Weren't Looking so
much so that she purchased several copies for her friends.
Like the first album, I'm Staying Out
draws on the sounds of alt- country and folk evoking a tempo
and mood that are both uplifting and subdued. Lyrically it features
some positive affirming story songs and others laced with a sense
of bittersweet melancholy. Evidence of the former --"Empty
Rooms," "Lorraine Today," and the title track--in
which narrators are strong women overcoming obstacles; while
somber tracks like "Beauty Fades Away" and "The
Next One" are representative of a tinge of regret. The music
is melodic, graced by Cary's violin playing, although she can
also take it up a notch like on "Cello Girl," the album's
sole rocker.
A native of Seville, Ohio who was raised
in a musical environment, Cary now lives in Raleigh, North Carolina
(where she first met and joined Ryan Adams as he was forming
Whiskeytown). As she is now preparing her imminent tour, the
very affable but down-to-earth performer spoke about the first
tastes of success on her own and recording this new album.
You just released your first album While
You Weren't Looking last year and went on tour for the first
time as the main act, and now you already have a new album out.
When did you decide to record a new album so quickly?
They scared the shit out of me when they
said it was time to make another record. I thought, don't I get
to rest on my laurels at all? And the answer is no you don't.
I think it was good to hurry up and go into the studio because
I had more to say than I thought I did...and the sound had gotten
into my head in the right direction to really focus on music,
while it was all fresh.
It probably helped that your touring
band also recorded in the studio with you for I'm Staying
Out.
It can't be overstated how important that
is. This confidence and trust among people making the music that
you don't get when you bring in ringers. I'm playing with the
best musicians I'm ever playing right now. It's really cool.
Was there anything you wanted to bring
or approach differently on the second album that you weren't
able to on the first?
It's hard to say what I was aiming for.
One of the things was to sort of capture that energy that we
built up by playing together, to play the songs we written together,
and some that we worked out on the road. To make a record that
reflected my sense of entitlement. When you make your first record,
you don't know if you can be a frontwoman. But I actually do
like it and think I'm okay with it.
How important were producer Christ Stamey
and co-songwriter Mike Daly were in formulating your sound?
I think if you could put "producer"
in the dictionary, you could put "Chris Stamey" next
to it. He's incredibly hard working and devoted, and has this
amazing work ethic and attention span. I'm so lucky to have someone
like him.
Mike Daly is the consummate working songwriter.
He's the first person that sort of put it in my head that I should
try to be a solo artist. And gave me confidence to do it. He's
also willing to help me wok out what I'm trying to do. I like
to get the song to a certain point to my own head and bring it
to someone else and let him help me make it better.
Mike Daly wrote "Sleeping In On
Sunday," one of the album's most uplifting tracks.
It was fun. I know that's gonna be one
in the set that I'm going to look forward to every night. The
fact I was just able to take that song and do it and not think
about it speaks about how close Mike and I are as songwriting
partners.
Is there a central theme lyrically on
I'm Staying Out?
I think there are a lot of the same kind
of characters on this record as on the last record, maybe that
these are stronger women.--a varied cost of characters. It's
kind of a romantic record, overcoming obstacles, and finding
strength at the end of the stores sort of.
Were you aiming for Patsy Cline when
you wrote and sang the aching country tune "Please Break
My Heart"?
There are certain ways of putting notes
together that usually dictate how a song is supposed to be absolutely
sung. I think "Please Break My Heart" was kind of like
that. I do love to think about Patsy Cline when I sing that.
Usually I'm more concerned about telling the story more than
singing per se, so that one is a singer's story. I think anybody
would have fun singing that one.
Was "Cello Girl" based on
an actual encounter with one?
It was a girl I saw maybe once or twice
in my life. I recently started playing the violin, and she was
older than me and she was really, really good. She was a kid
but really good. The picture of her is so stuck in my head, I
just thought about and imagined what she's doing now. I think
it is intellectually interesting how it is some memories, brief
as they are, stuck where others don't.
What was the spoken word conversation
at the end of the song about brtween you, Jen Gunderman, and
author Lee Smith?
I just thought it would be a cool idea
to philosophize a little about this cello girl and who she might
have been. We were in this room around the microphone and started
talking. At first it was kind of very awkward and we were shy
but it got easier and we just talked about memories, about cello
girls, and music. It was a long conversation and only a little
bit made it to the record.
Have you adjusted to your present role
as the front person and leader of your band, as opposed to when
you were just a group member in Whiskeytown?
I think I have fallen in love with it.
It's totally different and it's a huge responsibility. You're
also responsible for this band and you sort of the president
of the company [with] all this new added weight. But I find it
to be infinitely more satisfying and part of that comes from
having been the frustrated artist in Whiskeytown. I love being
in the band but it was really true--there wasn't room for two
front people in that band. I always felt like I had something
more than I wanted to be. You don't know if you can do it if
you don't try it. I guess I think I can.
Mary Chapin Carpenter sang on two tracks
of your record, and there's talk about you and her doing a tour
together, although the dream tour would be you , Carpenter, and
Lyle Lovett on the same bill?
That [bill] with Mary Chapin Carpenter]
could happen I think. It's all a matter of timing. The Lyle thing
we'll see. I think my manager plays golf with his manager.
You said that one of your musical influences
growing up was James Taylor. Who are your other favorites?
I love him, I really do. He's a great songwriter,
such a distinctive singer and player. One of the first ever records
I ever owned was Rickie Lee Jones and I never stopped
playing that record; and the same thing with Joni Mitchell. I
grew up near where Chrissie Hynde lived, so I always listened
to the Pretenders.
So what's next for you?
It remains to be seen. We're going to try
to get out of the stinky rock clubs and hopefully get into the
theaters where the people who like my music hang out. Gosh, so
many of my fantasies came true, playing with Lyle Lovett, and
getting on TV. I hope it gets better from here. I think it's
all a matter of fate.It's all luck from that point.
http://www.caitlincary.com
|
