Steel Notes Magazine Spring 2017 - Page 103

Steel Notes Magazine www.steelnotesmagazine.com your voice and maintaining the longevity certainly over a tour and not blowing it out because you're trying to hear yourself. Rick - What was the writing process like for “Grace Street”? Is there a specific procedure in which you like to follow or do you simply go with the flow? I read that you used a number of dif- ferent recording techniques such as wine glasses tuned with a turkey baster? Ian - Ya you tune a wine glass with a turkey baster just putting water in and taking water out and getting it to pitch right. You add more water and I think and the pitch goes down, or maybe it's up I can't even remember now, but ya we just add a take away water until we had basically a G-Major scale and then I just sort of would play with wine glasses, I've never done that before, but I mean that has nothing to do with the writing, that was just an overdub. As far as the writing goes, like you say I just go with the flow and it happens any which way. It sort of always happening it's kind if an ongoing thing. I'm always writing and documenting ideas, sort of like a musical sketch pad if you will, some of them are more done then others and some of them are just a little tid bit of an idea, a little seed and then depending on how done they are I'll just sort of revisit them and decide when it comes time to put a record together which ones are going to make the record. Sometimes they're pieces of older things that I never thought quite worked and sometimes they're brand new. It comes from all different places, you know lyrically I tend to draw on whatever is going on in my life, whatever is sort of closest to the surface. I very rarely do both at the same time. Rick - How do you find creative inspiration when writing new material? Ian - Well that's the whole thing, I find writing new material creatively, I don't know it's hard you need to sometimes trick yourself into being inspired. Sometime it can be something as simple as re-tuning your gui- tar to a different tuning. I mean there's a few different ways and techniques, always have a guitar in your hands, always working always searching and then see if you find one thing that sort of tickles your creativity, that little spark and you have to follow your gut, you owe it to yourself to dig deeper and find out what it is, and then you just document that, you can record it on your iPhone or whatever. Even if it's not a complete song that when you go back and revisit it your like ohhh yes ok I remember this feeling that this thing gave me and now I want to flush it out and push it further. Rick - What made you pick up a guitar for the very first time and what made you develop a need to master it? Ian - My father bought me a guitar, I think when I was 16, on my 16th birthday or some- thing and it sat in a closet, I learned a couple of chords and then put it away, maybe my 15th birthdate because I think started playing when I was around 16, but it just sort of sat in the closet. I had a friend who was a wonderful guitar player and we were hanging out. He started play- ing and showing me stuff. At that time I was starting to get into Led Zeppelin and he was like oh well that goes like this, I think that was it. Once you realize you can recreate the sound that you hear on a record by these couple simple moves, it was like ohh ok. I think that bit me. Rick - What was the 1st song you ever learned to play? Ian - That is a tough one man. I think "Going to the country" by Bruce Cockburn. I was more of a finger picking guy. Coming from piano I kept dropping the pick in the sound hole. I already had some dexterity in my right hand from playing piano. I went down that route. Rick - Aside from your incredible vocal abilities, your guitar playing is phe- nomenal… so tasty with so much feel and emotion. I’m so happy that bands like Big Wreck are still using lengthy guitar solos with smart song writing skills, with the occasional prog odd time signature in which I love and keeps it interesting. Un- fortunately in today’s world a lot of new music IMO sounds fabricated and seem to follow a specific formula making everything sound stale and recycled. I mean who can we say is the next Led Zeppelin or the next Beatles or Metallica? Do you get that same perception and how do you try to differentiate yourself from the rest? Ian - I gave up trying to ɔѡЁЁѥ!ѱ)$ЁɅєݡЁ$$ͅ䁥剔ѡЀش܁啅)ѡН́ͽЁ䁵ѼЁѼݡЁɕ́)ݡЁ$݅ЁѼȁɽɕɐݡЁɔ䁙ٽɥє)Mѕ9ѕ́5饹)ܹѕѕ͵饹(