Music

The Van Hunt Parlor Game: An Interview

Attention: if you don't hear your favorite Van Hunt song at his next concert, listen closer.

Van Hunt just performed "Ur Personal Army" and the applause is deafening. A young woman turns to her friend, a twinkle in her eye, and shouts, "What album is that from?" She's sitting at the front table inside the Gatehouse at Harlem Stage. The snow has finally melted after a 72-hour white-out in New York City. It's no matter that plane delays to JFK and LaGuardia prevented Van Hunt's band from arriving for rehearsal, postponing the show to Sunday from Saturday. The band is tight. The crowd is hungry for Hunt, even with snow on their soles.

"Ur Personal Army" is a song casual listeners may not recognize. It's from Hunt's still-unreleased Popular (2008), the album that Blue Note shelved, which precipitated the artist's exit from the label. However, a digital copy of Popular circulated among the loyal die-hards, underscoring the three types of Van Hunt fans: listeners who scream for "Seconds of Pleasure" or "Down Here in Hell (With You)"; the ones who sing along to rarer cuts like "Hidden Charm" and "Her Smile"; and those who attend enough shows to recognize songs that are only available with the price of admission, like "On the Jungle Floor", a song Hunt wrote with Paisley Gordon that furnished an album title but not an album cut.

All three types of fans are gathered at the table where that young woman just fell under the spell of "Ur Personal Army". A Van Hunt show is a little like a parlor game, and some attendees hold more "clues" about the songs than others. Throughout Hunt's performance, it's obvious that more people than not are trying to deduce where the lesser-known material belongs. "I love when that happens," Hunt grins mischievously backstage after the show, "when the song is just met with stone silence. I'm experienced enough now to know that it's not because they hate it."

Inside The Gatehouse, the crowd salutes the man who, though based in Los Angeles, represents an edgy, NYC sensibility. He smashes drum cymbals with a towel, then executes a kind of capoeira dance. When the band exits the stage, Hunt surprises the audience with acoustic renditions of "What Can I Say?" and "Dust". The band returns and they sock the audience with "Hold My Hand". The crowd is up on their feet. Van Hunt steps down from the stage and jumps jack-in-the-box style with the same kind of spirited verve as the audience, which includes fellow artists like Bilal, Tamar-kali, and Kimberly Nichole. It's official: Van Hunt has shaken the cabin fever loose from everyone's bones.

"Tonight was one of my favorite shows," he says, reclining on a black leather chair in a board room at Harlem Stage. "It's fun when you actually can convince people to engage with you and come out of their shell. It's no fun to just stand up there and play songs the same way that people expect to hear them. Part of what I use to balance my shyness is tricking people up. It's their favorite song and they're like, 'I really want to try and stay with it but I don't know if I like the way he's doing it.' It takes the tension off of me. I'll do whatever just to give them something to address while I try to sing these songs differently -- I'll wear a fighter pilot hat, I'll have paint on my head."

Despite his shyness, Hunt delivers a show the envy of extroverts. "Man of the Year" conveys a boisterous strain of Hunt's personality that was somewhat dormant on his debut album. Its guitar motif boasts an ominous quality, as if a Mulholland Drive-type monster is just around the corner. Though the song might initially sound foreign to audience members, chances are they've actually heard it before in the guise of "Hot Stage Lights" from On the Jungle Floor (2006).

Van Hunt explains the metamorphosis from the all-out rock of "Man of the Year" to its R&B counterpart, "I played 'Man of the Year' for (producer) Bill Bottrel. He didn't say anything, so I assumed he didn't like it. I loved the words so much that I went in and redid it the way I thought the producer probably wanted to hear it. Later on he said, 'What happened to the other version?' I said, 'I thought you didn't like it.' He said, 'No I loved it!' He was really into doing things from scratch with the band. The original version is just me."

There's a lot of "just me" on Use in Case of Emergency (2009), Van Hunt's first independent release since the Blue Note debacle. The album spans a decade or so of demos, song ideas, and original versions of tunes that, like "Man of the Year", later appeared reconfigured on his two albums for Capitol, Van Hunt (2004) and On the Jungle Floor (2006). The collection reflects the talents of a music magician who concocts a variety of three-to-four minute tricks: there's two versions of "Anything (to Get Your Attention)" (from Van Hunt), one in the form of new wave-rock ("ATTENTION!") and another that sounds funneled through an oil wheel projector ("N.E.Thing2getura10chin").

"I just wanted to reconnect with the people who have followed my records with Capitol," he says about the album's genesis. "I named it 'Use in Case of Emergency' because I needed money. I needed to put out material without having to make a new record, which I couldn't afford to do. I found these B-sides, remixes, things like that, and made a compilation. In this modern era, most people just like to talk about what you're doing and that's all you can capitalize on -- just people talking about you."

Use in Case of Emergency provides a tossed-salad evolution in Hunt's songwriting and recording. It closes with the oldest song ("Tingle"), which Hunt composed while he worked on demos for hip hop acts at his mentor Victor Reed's studio. It features tracks intended for other artists, some who demoed them (Dionne Farris) and some rumored to have recorded them (Beyoncé). "Hidden Charm", which Farris recorded for her unreleased For Truth If Not Love album, contains some of Hunt's most vivid sets of lyrics.

How did he conceive words like, "Our lady of fortune and fame/Maybe your baby or just an illusive mermaid"? "Painstakingly," he laughs. "I came up with the music and a friend of mine, Curtis Whitehead was encouraging me to finish the song. I knew the music was really good but I just didn't have any lyric. I literally sat on the floor for three days straight just playing the song over and over until I finally got this lyric. I had the 'silver spoon' idea and I just started writing from that, stream-of-consciousness. I shaped it as I went along. I sang that demo and then Dionne did it. I love playing 'Hidden Charm.'"

Of course, Dionne Farris also lent her vocals to "Hopeless", a song written by Van Hunt that was popularized on the Love Jones (1997) soundtrack. "Hopeless" is one of a very few R&B songs from the '90s that could truly be considered timeless. "I didn't produce that song by myself," he clarifies. "When I hear it, I still think it sounds good. The same things I didn't like then, I like even less now. I had so many more ideas for the song. Dionne sounds amazing, though. She always does."

In the instances where Van Hunt does produce other artists, his process contrasts with his approach to producing his own material. "It's much more personalized when I produce myself, more meandering. When I'm producing someone else, I'm as cookie cutter as you can imagine," he laughs. "You really do need to try to help this person express themselves, hopefully it's somebody who has something to say."

Swiss act Brothertunes had a "million" things to say when they invited Hunt to produce their album. "I wasn't going to do it," he remembers, "but they played me their stuff. They're really good guys. I needed a break so I went over to Switzerland. They had this studio that was in the middle of a cow pasture with huge flypaper hanging from the ceiling with huge nickel-sized flies hanging from these things in the middle of the studio. I was like, 'This is just too wild!'" Hunt's touch on "She Told Me So" and "Starship" made A Million Things to Say one of the hidden gems of 2008.

The release of A Million Things to Say followed Hunt's falling out with Blue Note in early-2008. Popular was a 14-song masterpiece, but it bewildered Blue Note, whose best-selling acts included Norah Jones, Al Green, and Cassandra Wilson. Aside from the obvious genre/marketing issues, the label may not have understood Hunt's frank, honest expression of sexuality. "I want to fuck you baby", he shouted on "The Lowest 1 of My Desires" and described a threesome on "Prelude (The Dimples on Ur Bottom)" -- worlds away from the kind of music that earned the label its seven-figure revenue.

It remains a challenge for Hunt to divorce his experience with Blue Note from the experience of hearing Popular. "Every time I listen to it, I get mad," he confides. "It's better than it was before. I really wasn't upset at the time I parted ways with Blue Note. Over time, I did become angry that the project couldn't come out. It's something that's just lingering over your head." However, the story of Popular has not ended. "I suspect it will be available soon, maybe even before summer, with the artwork and another song."

When Popular eventually enters the marketplace, it will face, what Hunt calls, a culture in decline. Without a trace of braggadocio, he explains why his work stands apart from the popular music hegemony of 2010. "Culture is in such decline," he begins, "that when someone is trying to live up to their own personal standards, it does stand out to me... and probably only to a few others, but those others are probably more evolved culturally. Their taste is refined. That's not a knock on the people who are plugged into what's going on now but, to me, it's obvious that culture has been on a decline for some time. This is an age when everybody wants to be a star. Anybody can have their 15 minutes, from a reality TV show to using Pro-Tools or Garage Band to make their own record."

Musically, Hunt cites the prevalence of Autotune as symptomatic of the decline. "I really don't like it," he says thoughtfully. "It started out as such a great idea, just to be able to fix things here and there. I've used it, just for something I really didn't feel like singing over. You can just fix a short word or note here and there in your background vocals. Why it has now become an 'instrument' I don't understand because the sound is not a good sound. It's 'see-through.' It's digital, not warm at all, and yet it's ever-present on the radio."

Coupled with Popular, Hunt has two other projects that adhere to his high standards: an album of instrumental pieces and a brand new studio record. "It's the best stuff I've ever written," he says about the latter. "There's certain ingredients in a song, which I always argue about with my band: tension and release. I've done the songs well, where the bridge goes somewhere else. The story is there. I've been able to do that and still keep all of the funk and raucousness. I think that's a rare thing to be able to be accomplish. The Beatles did it, so did Elvis Costello. David Bowie is probably the best example, in my opinion.

"Bowie is by no means Duke Ellington. He's not a musical virtuoso but that's what makes the songs that much more incredible. He pulls off these songs because they're really good songs. He's probably the best in the pop world, maybe next to Prince, at delivering everything that needs to be delivered in a song -- the gnarliness, the story, the song, the performance. It's all there." Beyond his new material, Hunt cites "Bits and Pieces" (Popular) and "God Moves at Midnight" (On the Jungle Floor) as songs that give him the most satisfaction because they have those essential elements.

Because virtually hundreds of tracks reside in Van Hunt's vault, it would seem that new lyrics or melody lines come to life at any second throughout a given day. "I'm not really a talkative person," he explains. "I'm actually shy and introspective. That's why melodies are always swimming around in my head.

"I've been reading this magazine about brain activity. Your brain activity actually increases when you're at rest, daydreaming, or sleeping. You hear a lot of musicians say they get ideas in their sleep, that part of your brain is able to really function undisturbed when you're at rest and that's why it's able to feed you these ideas. That's not a new concept but the fact that your brain increases that activity when you're at rest is, because many people thought that nothing happened while you're asleep, just a bunch of white noise. That's not the case at all."

One musician who astounds Van Hunt is Johann Sebastian Bach. Unlike his relationship to the music of Thelonious Monk, Hunt doesn't get inspired by Bach, just amazed. "Man, Bach is everything," he enthuses, "particularly the Cello Suites. You're talking about the guy who essentially taught everyone how to play the modern piano. To have been unknown at the time of his death is amazing. The Bach Cello Suites is my favorite piece of work, by far. I think, 'Golly, listen to that!' I just get lost." If message boards and YouTube comments are any indication, contemporary musicians feel similarly about Van Hunt.

Even with the accolades from fans and fellow artists alike, Hunt doesn't take his vocation for granted, appreciating the conditions to record on his own terms. "I've never been more broke but I've never had this much fun making music," he smiles. "I think that when you can do what you want to do for a living, it's as satisfactory as it gets. Life is harsh, man. The Earth is harsh. My son and I were just watching one of those DVDs about the Earth and you see how many times it's destroyed and recreated itself, regardless of who inhabits the Earth at that time. I think once I accepted that, life has become much more meaningful."

One final thought. As Van Hunt continues to "regenerate" himself and introduce new material, can he imagine a day when "Seconds of Pleasure" is no longer part of the concert set?

"No... but I can imagine a day where it's unrecognizable!" Attention listeners, there's another clue.

In Americana music the present is female. Two-thirds of our year-end list is comprised of albums by women. Here, then, are the women (and a few men) who represented the best in Americana in 2017.

If a single moment best illustrates the current divide between Americana music and mainstream country music, it was Sturgill Simpson busking in the street outside the CMA Awards in Nashville. While Simpson played his guitar and sang in a sort of renegade-outsider protest, Garth Brooks was onstage lip-syncindg his way to Entertainer of the Year. Americana music is, of course, a sprawling range of roots genres that incorporates traditional aspects of country, blues, soul, bluegrass, etc., but often represents an amalgamation or reconstitution of those styles. But one common aspect of the music that Simpson appeared to be championing during his bit of street theater is the independence, artistic purity, and authenticity at the heart of Americana music. Clearly, that spirit is alive and well in the hundreds of releases each year that could be filed under Americana's vast umbrella.

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Features

The Best Country Music of 2017

still from Midland "Drinkin' Problem" video

There are many fine country musicians making music that is relevant and affecting in these troubled times. Here are ten of our favorites.

Year to year, country music as a genre sometimes seems to roll on without paying that much attention to what's going on in the world (with the exception of bro-country singers trying to adopt the latest hip-hop slang). That can feel like a problem in a year when 58 people are killed and 546 are injured by gun violence at a country-music concert – a public-relations issue for a genre that sees many of its stars outright celebrating the NRA. Then again, these days mainstream country stars don't seem to do all that well when they try to pivot quickly to comment on current events – take Keith Urban's muddled-at-best 2017 single "Female", as but one easy example.

Nonetheless, there are many fine country musicians making music that is relevant and affecting in these troubled times. There are singers tackling deep, universal matters of the heart and mind. Artists continuing to mess around with a genre that can sometimes seem fixed, but never really is. Musicians and singers have been experimenting within the genre forever, and continue to. As Charlie Worsham sings, "let's try something new / for old time's sake." - Dave Heaton

10. Lillie Mae – Forever and Then Some (Third Man)

The first two songs on Lillie Mae's debut album are titled "Over the Hill and Through the Woods" and "Honky Tonks and Taverns". The music splits the difference between those settings, or rather bears the marks of both. Growing up in a musical family, playing fiddle in a sibling bluegrass act that once had a country radio hit, Lillie Mae roots her songs in musical traditions without relying on them as a gimmick or costume. The music feels both in touch with the past and very current. Her voice and perspective shine, carrying a singular sort of deep melancholy. This is sad, beautiful music that captures the points of view of people carrying weighty burdens and trying to find home. - Dave Heaton



9. Sunny Sweeney – Trophy (Aunt Daddy)

Sunny Sweeney is on her fourth album; each one has felt like it didn't get the attention it deserved. She's a careful singer and has a capacity for combining humor and likability with old-fashioned portrayal of deep sadness. Beginning in a bar and ending at a cemetery, Trophy projects deep sorrow more thoroughly than her past releases, as good as they were. In between, there are pills, bad ideas, heartbreak, and a clever, true-tearjerker ballad voicing a woman's longing to have children. -- Dave Heaton



8. Kip Moore – Slowheart (MCA Nashville)

The bro-country label never sat easy with Kip Moore. The man who gave us "Somethin' 'Bout a Truck" has spent the last few years trying to distance himself from the beer and tailgate crowd. Mission accomplished on the outstanding Slowheart, an album stuffed with perfectly produced hooks packaged in smoldering, synthy Risky Business guitars and a rugged vocal rasp that sheds most of the drawl from his delivery. Moore sounds determined to help redefine contemporary country music with hard nods toward both classic rock history and contemporary pop flavors. With its swirling guitar textures, meticulously catchy songcraft, and Moore's career-best performances (see the spare album-closing "Guitar Man"), Slowheart raises the bar for every would-be bro out there. -- Steve Leftridge



7. Chris Stapleton – From a Room: Volume 1 (Mercury Nashville)

If Chris Stapleton didn't really exist, we would have to invent him—a burly country singer with hair down to his nipples and a chainsaw of a soul-slinging voice who writes terrific throwback outlaw-indebted country songs and who wholesale rejects modern country trends. Stapleton's recent rise to festival headliner status is one of the biggest country music surprises in recent years, but his fans were relieved this year that his success didn't find him straying from his traditional wheelhouse. The first installment of From a Room once again finds Stapleton singing the hell out of his sturdy original songs. A Willie Nelson cover is not unwelcome either, as he unearths a semi-obscure one. The rest is made up of first-rate tales of commonality: Whether he's singing about hard-hurtin' breakups or resorting to smoking them stems, we've all been there. -- Steve Leftridge



6. Carly Pearce – Every Little Thing (Big Machine)

Many of the exciting young emerging artists in country music these days are women, yet the industry on the whole is still unwelcoming and unforgiving towards them. Look at who's getting the most radio play, for one. Carly Pearce had a radio hit with "Every Little Thing", a heartbreaking ballad about moments in time that in its pace itself tries to stop time. Every Little Thing the album is the sort of debut that deserves full attention. From start to finish it's a thoroughly riveting, rewarding work by a singer with presence and personality. There's a lot of humor, lust, blues, betrayal, beauty and sentimentality, in proper proportions. One of the best songs is a call for a lover to make her "feel something", even if it's anger or hatred. Indeed, the album doesn't shy away from a variety of emotions. Even when she treads into common tropes of mainstream country love songs, there's room for revelations and surprises. – Dave Heaton

From genre-busting electronic music to new highs in the ever-evolving R&B scene, from hip-hop and Americana to rock and pop, 2017's music scenes bestowed an embarrassment of riches upon us.


60. White Hills - Stop Mute Defeat (Thrill Jockey)

White Hills epic '80s callback Stop Mute Defeat is a determined march against encroaching imperial darkness; their eyes boring into the shadows for danger but they're aware that blinding lights can kill and distort truth. From "Overlord's" dark stomp casting nets for totalitarian warnings to "Attack Mode", which roars in with the tribal certainty that we can survive the madness if we keep our wits, the record is a true and timely win for Dave W. and Ego Sensation. Martin Bisi and the poster band's mysterious but relevant cool make a great team and deliver one of their least psych yet most mind destroying records to date. Much like the first time you heard Joy Division or early Pigface, for example, you'll experience being startled at first before becoming addicted to the band's unique microcosm of dystopia that is simultaneously corrupting and seducing your ears. - Morgan Y. Evans

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In Fanfiction and the Author: How Fanfic Changes Popular Culture Texts, author Judith May Fathallah investigates the progressive intersections between popular culture and fan studies, expanding scholarly discourse concerning how contemporary blurred lines between texts and audiences result in evolving mediated practices.

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Which is the draw, the art or the artist? Critic Rachel Corbett examines the intertwined lives of two artists of two different generations and nationalities who worked in two starkly different media.

Artist biographies written for a popular audience necessarily involve compromise. On the one hand, we are only interested in the lives of artists because we are intrigued, engaged, and moved by their work. The confrontation with a work of art is an uncanny experience. We are drawn to, enraptured and entranced by, absorbed in the contemplation of an object. Even the performative arts (music, theater, dance) have an objective quality to them. In watching a play, we are not simply watching people do things; we are attending to the play as a thing that is more than the collection of actions performed. The play seems to have an existence beyond the human endeavor that instantiates it. It is simultaneously more and less than human: more because it's superordinate to human action and less because it's a mere object, lacking the evident subjectivity we prize in the human being.

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