The Christines Interview

INTERVIEW WITH THE CHRISTINES FROM TheCelebrityCafe.com ARCHIVES

DM) The songs say that they're written by the group, as a whole. What is the group's song-writing process?

MT) Our songs are written one of two ways. The most common is when I bring an idea consisting of a guitar line and vocals, show it to the band, and we play around with it until everyone comes up with a part. Everyone contributes ideas for all parts. The other way is when I write all the parts (excluding drums) on my 4-track. "In Your Space" and "Secret Song" from "Living At The Bottom..." were written that way.

DM) The song's style seems to be very reminiscent of the 1960's. What bands influenced you as you were growing up?

MT) "Living At The Bottom..." does have kind of a '60's feel, but we were going for a certain sound and presentation on that album. Our first CD and newer material reflect a wider range of influences. Let's see if I can do this in one breath: Byrds, Beatles, Beach Boys, Velvet Underground, KISS, The Cars, The Cure, Twice Wilted, Spacemen 3, Echo and the Bunnymen, The Smiths, Bowie, Jesus and Mary Chain, Kraftwerk, Trip Shakespeare, Game Theory, Rain Parade, Joy Division, Fuzztones, Psychedelic Furs, Prisoners, and I must admit Ratt, Dokken, and Motley Crue's first two albums.

DM) How do you explain that musical diversity?

MT) I can't explain the diversity in what I like, really. It just happened that way.

DM) Did it come from the type of music your parents had on the radio on car trips?

MT) In the car my dad would play '50's rock, and he also had a collection of 45's and compilation records I wore out. My mom played a lot of Cat Stevens and Jim Croce and sang all that early '70's folk kids' songs to us. They had quite a collection of Limeliters and Chad Mitchell Trio and Streisand albums, and all the American pressings of the Beatles. When I got into KISS but didn't have any of their records yet, I asked them if they had anything like that, and they pulled out a Cream record. I thought it was okay, but it was no KISS. There are lots of artists like Cat Stevens and Jim Croce that I have always loved, but I don't cite them as influences in the music I'm currently making, because I can't really trace a direct line, even though they must be in there somewhere. And besides, that would multiply my list a hundred times.

DM) How autobiographical are these songs that you've written?

MT) I wouldn't say any of the songs are autobiographical in a specific sense. Most, though, contain fragments of images or feelings that are personal to some extent. I write lyrics beginning with key sounds of words needed in specific parts of the song that compliment the vocal melody I'm going for, and the rest of the lyrics have to be molded around them. Usually I find a theme there and try to direct it, but I like to leave enough open to interpretation for people to get their own meaning.

DM) Are there ever any conflicts over who gets to influence the songs more?

MT) Just the usual "I don't like that guitar or keyboard or bass line or that drum fill", but that stuff gets worked out without much agony. We listen to each other and respect each other's opinions enough to trust that if four of us feel one way, that's probably the way to go. If I bring a song I'm up on and no one likes it, I have no problem dropping it, because everyone needs to like what we do to keep it good.

DM) But how do you maintain that when its lacking has been the source of so many band breakups?

MT) I can't speak for other bands or their interpersonal dynamics. I've just always felt that "give and take" was essential, and being the main songwriter and arranger, I knew if I showed that attitude that others would (or should) respond with the same. So far, so good. It's not always bliss; for instance, our first guitarist, Eric Lowe, left the band after the first CD came out because he wanted the band's sound to go in a different direction than the rest of us wanted. An overall disagreement like that is more difficult to overcome than the little arrangement stuff.

DM) Have people ever approached you and said, "This song sounds like such and such"?

MB) That happens once in a while, and it's interesting when the comparison is far from what I got from the song. I think comparisons like that reflect the listener's background more than the song itself most of the time. But it never bothers me, that's the territory and it will always happen unless you are a truly "out-there", groundbreaking band, which I don't consider us to be. Everyone has influences, the key is to not make it too obvious, and I think for the most part we are successful in combining ours into a reasonably fresh sound.

DM) But can you create a successful sound without creating a new sound?

MT) Oh, yeah, I think so. There aren't many bands I can think of that have really created a new sound, but there are plenty that have done worthwhile music. A band like the Grateful Dead, whose beginnings were fairly standard 60's jamming, eventually became completely unique, so I would say they are an exception. I think the Smiths had a unique sound. But even the Beatles were all Chuck Berry and '50's standards, and then influenced by the Byrds who were influenced by them. And no one can claim the Beatles' music is disposable.