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Leider habe ich Bart Davenports CD erst erhalten, als seine kleine Deutschland-Clubtournee schon vorbei war, sein Konzert in meiner Stadt hab‘ ich sträflicherweise nicht besucht – wirklich schade, denn Maroon Cocoon ist eine sehr hübsche Platte, voller Reminiszenzen an die Siebziger Jahre, die für Davenport sowas wie ein goldenes Zeitalter bedeuten. Seine großen Vorbilder sind der noch junge, aber schon kein Beatle-mehr-seiende Paul McCartney, Donovan, Gil Scott-Heron, Arthur Lee/Love, Nick Drake und die Kinks; von gegenüber winken freundlich Simon & Garfunkel, schemenhaft kann man auch Al Stewart und die Bee Gees vor ihrer Discophase erkennen. Also sehr harmonische, gitarrenbetonte Westcoast-Popmusik, die außer von ein paar amerikanischen Radiostationen kaum noch gespielt wird. Aber Bart interessiert sich nicht sehr für "modernen" Pop, sondern spielt unbeirrt die Musik, die er schon als Kind geliebt hat. Nach einer Tournee mit den Kings of Convenience im Herbst 2004 zog er sich mit seinem Buddy Sam Flax Keener in sein Haus in Berkeley zurück, um nach Bart Davenport und Game Preserve sein drittes Album einzuspielen. Herausgekommen sind dabei meist Liebeslieder mit melancholischem Unterton wie das bezaubernde Clara, das sich schon nach wenigen Takten fest in Ohr und Herz verankert, oder Into Music, ein traurig-schönes Lied eines abtrünnigen Vaters, adressiert an sein Kind: "Let me tell you kid, what your daddy did / He was really really into music". Das Spannungsfeld Boy-meets-Girl bildet das Herzstück seines Schaffens, schon zu Schulzeiten haben die Mädchen dem jungen Bart Rätsel aufgegeben: "Studying evil and finishing school / Who taught the girls how to be so cruel? / Waiting and waiting for the ball to drop / Killing me now but I just can't stop". Mr Davenport war so nett, per E-Mail ein paar Fragen zu beantworten – ich lasse sie mal unübersetzt, weil ich finde, daß schon seine Antworten klingen wie ein freundlicher Popsong … First of all: please excuse my humble english! Thank you.
BD: Well, just remember that your English is better than my German. Danke Schoen. Also first: I really love your album - it's perfect. In a better world all your songs would be played on the radio.
BD: Thank you. In a better world we'd all be running around laughing, naked in the sunshine. But that's not how it is. "The big sky is too big to sympathize". Unfortunately I missed your recent show in Frankfurt, Germany. Will you come back? How did you like the German audience? I think people here have a soft spot for singer/songwriters like you or Adam Green. Is it okay to mention you and him in the same sentence?
BD: Yes, it is ok with me. I really admire Adam Green. I like the way his records sound. We are both American singer songwriters but I believe the comparison ends there. He writes lyrics in a very current type of language. He speaks with the tongue of today's youth culture. I on the other hand, speak in a dead language, the language of classic pop music - which is almost a dead art. It's like singing in esperanto. Bonvenon! He is a man of the east coast and I am from the west coast. He is friends with The Strokes and I am friends with a girl who used to sleep with one of the Strokes. He came out of this "anti-folk" movement. I have no idea what that means but I am absolutely certain that I myself am "pro-folk". Ah but these distinctions may not be important to a German listener. As for the German audience, I appreciate their support and look forward to playing Frankfurt again as soon as possible. I was in a small club called Dreikönigskeller and that place is fantastic. It's like stepping into the 1960s! When and why did you decide to go on as a solo artist? What kind of music did you play with your previous bands?
BD: Hmm …. I decided to make solo records when Xan McCurdy quit my last band, the Kinetics. He left to join a group called Cake. Xan and I had been in bands together since we were eleven years old. And the idea of going on in a band situation without him was unthinkable. So I opted for the solo thing - which I had secretly wanted for a while. Things worked well. Xan and I are still best friends. Listening to your songs I feel very tenderly reminded of the 70s, when I was a kid. Is that something you intended? What kind of music makes you feel comfortable and safe?
BD: 70s for sure. I was a kid then too. It's more than just intentional. It's just how I write, play and sing. Let's go back there now. How would you describe your music yourself?
BD: Pop, folky, sincere, funny, melodic, insincere, sleazy, sensual,intellectual, precise, earthy, pastoral, plaintive, consonant, warm, harmonically sophisticated, flexible, convertible, genre defying, cameleonesque, retro, uncommercial, underground, bossa nova, rock & roll, home recorded, analog, classic, nostalgic, uncompromising, romantic, earnest, existing in a bubble but without borders, barriers or boundaries. Are your songs autobiographical or is "Bart Davenport" kind of an artificial person who says and does things the private Bart wouldn't?
BD: No, "Bart Davenport" is not an artificial person. But sometimes I am not him. What is the most clever line you ever wrote?
BD: No, "Bart Davenport" is not an artificial person. But sometimes I am not him. What comes first when you write a song: the words or the music?
BD: Sometimes the words come first and that's great because I already know what the song is about. And all I have to do is set the story to music - which I don't find so hard. But quite often I come up with music first and then have the difficult task of finding words that syllabically fit the melody and chords and lyrically match the mood of that music. I end up with a lot of unfinished songs this way. There's a lot of music in my head that I haven't had the time or inspiration to put words to. Do you sometimes wake up humming a new melody?
BD: No but I wish I did. That would be nice. Sometimes, I wake up laughing. Love is a central topic in your songs - german popsinger Andreas Dorau just released a song "Dies ist kein Liebeslied" (this is not a lovesong), listing lots of things one could also sing about (animals, hair, acid, machines, birds, trees, and so on..). Could you imagine singing about completely different topics or even cars or something?
BD: "Love" has been a central topic for most of my songs but not ALL of them. Take 'Glendale', 'Bar-Code Trees', 'Beg Steal Borrow', 'Intertwine', 'Mr. Brennan', 'Seeing Eye Dog' and 'Nowhere Left To Go' for example. People call you a "folkie" - do you agree?
BD: Yes. Years ago I got a book full of questions about oneself. One of the questions was "What would you like to be famous for?" And you?
BD: Right now, I'm worried about how I'm gonna make enough money to pay rent for my apartment. If I were famous, would I be able to make that kind of money? Does politics play a role for your music - I was just wondering how it feels to live in California like you do and have an Austrian terminator as a gouvernor … it is still strange for Europeans to imagine someone from the entertainment industry as a politician.
BD: Well, Ronald Reagan was also an actor and he was governor of California way back in the 60s. He sent National Guard troops to my hometown, Berkeley to combat student protestors. Helicopters sprayed tear gas all over the University and tanks rolled down Telegraph Avenue. Clint Eastwood was mayor of Carmel and Sonny Bono was mayor of Palm Springs. I mean … I don't want to defend Schwarzenegger here … but Hollywood is the entertainment capitol of the world and there are probably more actors in California than any other state in the union. So doesn't it make sense that a small few of them would be rich, ambitious and corrupt enough to want to become politicians (the ultimate actors)? And if you think George Bush isn't an actor, think again. As for California, you should see the north coast. It's a paradise of natural beauty. Enchanting fog, amazing cliffs, ocean breezes, Victorian buildings, redwood forests …. I'm doing what I can to enjoy it while it's still here. |
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