Read / Download the full AB Records e-zine #172 (PDF file)

As the momentum behind this record continues to grow, Phil took some time out to chat with Aldora Britain Records about his journey through story and song to date.

The blues is a style of music that has evolved and changed overtime, perhaps becoming more associated with a far-reaching feeling than a distinctive genre. This is the field that New York-based tunesmith PHIL GAMMAGE taps into with a noir and alternative twist. Phil’s take on the blues brings a contemporary, fuzzy edge, delving into his personal reflections and worldly observations with a natural and relatable flair. This approach has most recently been captured with a rootsy inclination on the Redeemed LP, a set that has previously been hailed as a ‘robust’ collection of Americana with a diverse and heartfelt foundation. As the momentum behind this record continues to grow, Phil once again took some time out to chat with Aldora Britain Records about his journey through story and song to date. We discuss his approach to songwriting and songcraft, the making of the Redeemed LP, popular original compositions, and much, much more. That exclusive in-depth conversation is published here in full for the very first time.

Hello Phil, how are you? I think it is about time that we welcomed you back to the Aldora Britain Records e-zine. I really enjoyed our chats in 2020 and 2022. Let’s do it again! As always, let’s kick things off by rewinding the clocks.

1. You previously mentioned that your first live music experience was Elvis in Texas. Wow! Can you tell me about this? What formative impact did this show have on you?

Elvis performed at the Houston Livestock Show and Rodeo held in the Astrodome. I talked my parents into taking me to his matinee show. A professional rodeo features competitions like barrel racing, bull riding, calf roping, and the like. Real cowboy stuff. They also have the livestock auctions in an adjacent space for the ranchers to bid on bulls, horses, and other animals … even llamas. The annual Rodeo back then always had the top big name entertainers … usually country music stars with the occasional rocker or Tejano acts. I used to go to rodeos all of the time and they were always fun. Seeing that Elvis’ concert sparked my interest in music which is going to strong to this day.

2. And now, let’s take a leap forward to the present day and your impressive solo output. I am a big fan of what you do! I am really drawn in by your impeccable and relatable songwriting and song craft. How do you approach this part of your creative process? Are you drawn to particular themes or topics? Perhaps coming from a personal, observational, or even fictional perspective?

The genesis of my songs almost aways begins with me and an acoustic guitar playing some chords or a riff. From there it’s putting those chords to lyrics — either my own or one of my songwriting collaborators. A song really begins to take form when you develop the vocal melody.

I like lyrics that tell a story. That’s not easy to do as you have only a handful of verses, a chorus, and maybe some bridges to tell your story. One cannot waste any words, they all have to count.

3. Earlier this year, you unleashed a brand-new and unforgettable record in the form of Redeemed. This is a pearl of a set and yet another Gammage classic. Thank you for the music and here’s to many more years of your brilliant take on blues music! What are your memories from writing, recording and releasing this set, and how would you say you have grown and evolved as an artist since your previous outing?

The development of those songs was an organic process that took a few months. My band had a weekly residency at an outdoor venue in New York a couple of summers ago. I was co-writing a lot of songs with my colleague the upstate New York poet D.B. Schell and bringing them to the weekly gigs for the band to try out.

Not all of the songs we wrote that summer were keepers, but the songs that were made it onto the Redeemed album. Many of the musicians that worked those weekly summer gigs with me played on the album. I would not categorize the album as strictly blues, I’d call it Americana or roots music if we must categorize it. There is a lot of diversity between all of the songs. Country, rock, blues, jazz, cinematic soundtrack elements… it’s all there.

Redeemed is the first album that I produced and mixed on my own (except for a couple of songs mixed by Tony Mann for the album). That was a huge step forward and I’m pleased with the results.

4. As I say, it is a pearl of an album from top to bottom, start to finish, but I would like to pick out two personal favourites. Let’s go for ‘Messages from the Grave’ and ‘Right On’. Two Gammage gems! For each, what is the story behind the song, and can you remember the moment it came to be? Did anything in particular inspire them and what do they mean to you as the writer?

“Messages” … I wrote on acoustic guitar using Schell’s poem as lyrics. It dealt with a deceased female poet and how they were remembered by someone who is going through her old possessions that he or she found. Thanks to an old photo I found and used in the song’s music video I gave the poet the name “Velma”. There’s an element of the supernatural going on too. Is this person talking to the dead poet’s ghost? Our music video really captures some of the nuances of that song visually.

The song really took shape when keyboardist Johnny Young added his electric piano, organ, and mellotron parts. His work on the song took it to another level. It evolved from this folky guitar tune into something much larger.

With “Right On” I was aspiring to write a country music vibe similar to The Rolling Stones circa 1970. Loose and fun. There’s some fine work on that one from David Fleming (harmonica); Jeff Gordon (bass), Michael Fox (drums); Johnny Young (keyboards); and Joe Nieves (background vocals). The song’s music video was filmed at one of our favorite venues in New York called Cowgirl Seahorse down near the South Street Seaport.

5. Previously, if we travel back to 2015, you released another quintessential snapshot entitled Booze, Blues, and New Tattoos. I have actually just discovered this one over on Bandcamp, but it has made such a strong impression already. How do you reflect on this set as a whole now, and is there anything that you would edit or change looking back with the benefit of hindsight?

By the time I recorded the Booze, Blues album back in ’15 my songwriting was back in full gear. I had gotten away from writing for several years prior but this album’s songs are nearly all written by me. I have positive feelings about that.

I’m proud of that album and wouldn’t change much of anything except perhaps the mix on a few of the tunes. However, those decisions (mostly vocal and guitar effects added at the mix) give the album a different sound than most so I’ll live with it!

6. I always love to delve deeper into an artist’s roots. For me, it is actually one of the most enjoyable parts of any interview. You previously name checked The Velvet Underground’s Live ’69 as an all-time favourite. Can you remember the first time you heard this record? How has it informed you and your musical output since? More broadly, who are some of your biggest influences and inspirations currently?

I was a fan of solo Lou Reed and when in record stores would often check his vinyl album rack to see if he had a new release out. I saw a few Velvet Underground albums in his rack once and was curious so I purchased a couple of them including Live ’69. Prior to that I had never heard of his old band.

At the time I first heard Live ’69 I was underage and could not get into bars or clubs to see live music. I’d go to local concerts in arenas and theaters if I could get a ride there. But here was an album recorded in a night club and the overall vibe of the recording really intrigued me. I imagined in my mind what it was like to have been there. I thought “so this is what adults do when when they want to go out and hear live music.” Being underage, it was a forbidden world to me which of course made it all the more appealing.

Looking back, what ultimately has made that album enduring is the quality of Reed’s songwriting and the terrific band the VU were. It’s just a killer collection of songs. It may be a little lo-fi compared to other live albums from that era but that contributes to its allure.

Lately I’ve enjoyed listening to albums by Charley Crockett, Broadcast, Dusty Trails, and Karen Dalton. Just a mish-mosh of music I hear randomly and find I like.

7. A broad question to finish. We have been through such a unique time in history over the last few years. Both politically and within society, and that is before you throw in the pandemic. How have the last several years impacted on you personally and as an artist? How do you think this time has changed the music industry, both for the good and the bad? I am curious to hear your insights.

Living through the pandemic in NYC was rough. I was able to get out of town for a few weeks during the worst part thankfully, but the summer of ’20 was difficult for anyone who was here. I did not lose anyone who was close to me but I still knew many who passed away. Seeing the refrigerator tents in Central Park where they housed some of the corpses … the hospitals were too full … it was not a good time to be here and many left if they could.

Technology continues to change the recorded music industry … hasn’t it always since Edison introduced his first phonograph cylinders in the late 1880s? As a performing artist most of our earnings now are through live performances. People rarely pay money for recorded music anymore that gets back to the artist in any significant percentage. For this I hold technology responsible. Streaming and downloading. The era of music fans owning physical versions of an artist’s work is over for now for the most part. That’s kind of sad.

Quickfire Round

1. Favourite artist?

Always difficult for me to pin one down, but I’ll go with 1970s era ZZTop

2. Favourite album?

We’ve already discussed Live ’69 so I’ll say The Thirteenth Floor Elevators’ Psychedelic Sounds of.

3. Last album you listened to from start to finish?

John Coltrain Giant Steps

4. First gig as an audience member?
   
   Elvis at Houston, Texas’ Astrodome
   
5. Loudest gig as an audience member?

Humble Pie at the Sam Houston Coliseum

6. Style icon?

Bryan Ferry

7. Favourite film?

Dr. Strangelove

8. Favourite TV show?

The Resident

9. Favourite up and coming artist?

Charley Crockett