You said that the goal of your first full length - "Picking Through The Pawn Shop", was to take the songs that you had been doing individually and see what would happen when you collaborated with other people on them; after taking a step back from it, having some time to look at it, how do you feel it worked?
I'm truly pleased with the results. The learning curve was huge for me. Looking back it was so ambitious. I started with "the bones" of about 15 songs. Some I had been playing for years. Then I had to develop a language with the musicians who I invited in, with the producer, with the engineer. I spent endless days with my head set on. Walking around downtown. Drafting new versions in coffee shops. Writing and rewriting. Tweaking string parts. Taking out tambourines. The collaboration really happened between the producer and engineer and I. It was like making a big meal together.
Now, it's not really the first album you've released though, is it just the first at Ten Cent Poetry?
I was lucky enough to have other recordings made before this, but just me and guitar. Nothing produced. No conceptualization beyond the written words. They feel more like snapshots. Those were just Chelsea LaBate. Yes, this is Ten Cent Poetry. A larger umbrella.
Could you talk about the process you go through when writing a song?
I write all of the time. The poetry always first.The ideas are always floating around in my head, like a radio playing softly in the background. They bubble up while I'm driving, cooking, hiking, even performing.
For me, the true art is actually tucking the rest of life to the side, so that the writing has it's time.
You seem to play an awful lot live, and a lot in the town you are in, what keeps it fun for you?
There is no strategy needed for that. It's what I love. It's also my job. MY job. One that I have created. One that I came here to do. Other jobs came close but weren't specialized enough. They really could have been done by other people. Once I realized there was a chance that I could play music for a living, I went for it! That's why I play so much. Lots of little shows. Some medium. Sometimes big fancy ones. I'm playing in different places, but I'm my own boss. I have complete freedom. I've had 27 other jobs, all work that has been done to support my art. This job IS my art and it supports me. It's fun!
What song that you've written are you most proud of lyrically?
Hee. The Snail Song. Sometimes I sing that song and can't ever imagine writing it again. I wrote it while living in an ashram in NYC. I remember having the paper and trying hard to memorize the words. I couldn't wait to sing it for people. They were all so tickled.
You're a poet too, so what makes for exceptional poetry in your eyes?
Beautiful poetry. I like to be given images that bring me back to the beauty, the wonder of living life. I have to understand it, feel it. I want to be uplifted and transported.
Who are your favorite poets?
Recently Tony Hoagland. Mathew Rohrer. Two Contemporaries. Then always Pablo Neruda, Leonard Cohen, Hafiz, Sandra Cisneros.
Any additional words?
Yes. To other artists out there - MAKE YOUR ART. It's why you came. Keep your life simple so that you have time for it. Keep your costs low so that you're not doing the crazy chicken dance trying to keep up to maintain objects, robots, lifestyle. Take good care of your body so that you can enjoy the process. Protect yourself from emotional blood suckers. Develop routine. Clarify your intention. Celebrate your small victories. Activate your gratitude - Art is a job that pays in undercover ways - little golden coins that come in different shapes like spiritual nourishment, adventure, positive social binding, genuine appreciation from others. It's not always there in monetary form, but a payment is ALWAYS made, it's just a different field of payment. Soul payment. Do your work. It's a rich investment in your self and your future.