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There's Just Something About Mary Karlzen
by Brenda Kahn |
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| Mary
Karlzen has all the experience and talent to make great songs,
and since leaving Atlantic in the mid nineties, the artistic freedom
to make great records. She did just that last year when she released
"Dim the Watershed" on Y&T Music with the help of long time
supporter Rich Ulloa. Now Karlzen is reassessing music in a new
town - and life as a mother rock star. |
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WOMANROCK:
I read you are from the Midwest originally. When you left to travel
around the country, what prompted you to stay in Florida?
Mary:
At 17, my parents moved to Florida. I tried to stay in Chicago,
but soon found myself living in my jeep and having a hard time of
it. So eventually, I moved to Florida to attend college. While working
at a record store, I met a girl who was forming a girl rock band
called Vesper Sparrow. After awhile we were getting national attention
and a development deal with Geffen. I left the band in 1991 because
of creative differences.
WOMANROCK:
Can you give me a short history of your independent career before
you did the deal with Atlantic?
Mary:
After leaving Vesper Sparrow, I didn't intend to pursue music, but
to finish school. I was playing acoustic shows for fun when Rich
Ulloa from Y&T music got a hold of a tape. Rich had launched the
career of the Mavericks and was well immersed in the music scene.
He offered to put out a CD of my songs. So with the help of guitar
player Mark Scandariato and other Florida musicians, we put out
a CD in 1992. We followed it up with an EP in 1993 and toured the
East Coast. During this time, we played shows with Bob Dylan, John
Haitt, The BoDeans and others. We made a video for a song called
"I'd Be Lyin'" and it was the first indie video to play on VH-1.
I think this is what caught the attention of Atlantic.
WOMANROCK:
What prompted you to release your first record on Y&T?
Mary:
I wouldn't have done this without the enthusiasm of Rich Ulloa.
He believed in me more than I did. He was the wind beneath my
wings! (Please note the sheer goofiness in which this is said.)
WOMANROCK:
When "I'd Be Lyin'" became the first indie video to be added into
regular rotation at VH-1, how did that affect your career? Was it
a great feeling to see your original music on national television?
Mary:
Due to the very cool women who were in charge of video selection
at VH-1 at the time, they made a difference. They were open-minded,
and I feel at that time their hands weren't tied by major labels
and corporate bureaucracy. As for me, seeing your own music on a
national level is, can I say, "way cool". It gives you a sense of
validation that you're on the right track, that people do like your
songs. It gives you the energy and inspiration to keep writing and
playing.
WOMANROCK:
Do you feel Atlantic was a good label for you? What did you learn
from being on a major?
Mary:
We went into the Atlantic deal very naïve to the workings and politics
of major labels. They made us feel like we were joining this wonderful
supportive family. They made me feel important. In reality, now
I feel they were merely scooping up a bunch of female singer-songwriters
because it was the sound of the time. Among the other very talented
women, Jill Sobule, Juliana Hatfield, Melissa Ferrick, Victoria
Williams & Jewel, we were a low priority. We received very little
attention and had to work very hard for anything. On the plus side,
we were given opportunities, as far as great national press, thanks
to Sue Swan, and national touring that we would not have achieved
on our own. In hindsight, I would sign with a smaller label where
I would be a priority or try it alone like Ani Difranco.
WOMANROCK:
After touring and traveling throughout the country what in your
opinion is the best diner in America?
Mary:
Unfortunately, we had very little money while touring so we stopped
at a lot of sub shops, and relied on clubs to feed us. All the little
diners just kind of run together as a blur across the country. Most
memorable … Carnegie Deli.
WOMANROCK:
Your newest record, "Dim the Watershed" was released this year independently.
Why the long gap between records?
Mary:
Money! I have to say that was another advantage of a major label.
On my own, I had to beg, borrow and ask for favors. Even when "Dim"
was finished, it wasn't the CD I would have made given more resources.
I would put out a CD a year if it weren't so expensive. Also, I
did take some time off to recover from the terrible hurt after being
dumped by Atlantic. It was a very painful time, and I guess I hid
out for a while.
WOMANROCK:
I read your dog's name is Dim. Is this record about your dog?
Mary:
Actually, it has very little to do with him. My old roommate, Carolyn,
the drummer from Vesper Sparrow, and I were up very late one night,
talking about how twisted life can be. We had had a glass of wine
or 2 or 7 and life's philosophy seemed very clear for some reason.
We were contemplating the idea that one single decision in your
life can change your life irrevocably. The problem is that at the
time the decision needs to be made, you don't understand the great
importance it will play later down the road. Sometimes you don't
see that you're standing at the fork in the road. It was then; I
said something like, "How dim the watershed." It stayed in my head,
especially every time I evaluate my place in music today.
WOMANROCK:
What have you done to promote this record - have you been able to
tour to support it?
Mary:
After we finished the CD in Miami, I moved to Milwaukee, WI. It
has been difficult starting over in a new town were no one knows
you. In January, we did some shows with different musicians in Nashville,
Atlanta and Miami. We also did some acoustic shows in Texas, including
Yahoo.com's "music café." For the spring and summer, I
put together a band here to do a string of shows in the Midwest.
Unfortunately the shows were canceled. I found out I was expecting
a little bundle of joy or a bowling ball, and became very sick for
three months. It was like the Exorcist around here and I was Linda
Blair. Now, I can't stand up with a guitar on.
WOMANROCK:
How has the news that you are going to have a baby (due in February)
affected your feelings about being a musician or the music industry
in general? Do you plan to be the kind of mom that has a Tele in
one hand and the baby in the other, or do you feel music taking
a back seat?
Mary:
Honestly, I haven't sorted out all these feelings yet. I don't know
what it feels like to be a mom. I've been working on an acoustic
record in my house and so far the baby thing has not crept into
the lyrics. I don't think the reality of it has or will hit me until
it's arrival.
WOMANROCK:
Who are some of your personal heroes - people who influence your
work and your songs.
Mary:
Heroes - Ralph Nader. I don't think there are any heroes in music
with the small exception of when they use their notoriety to make
social or political change for a better world. e.g. The No Nukes
rally movement in the late seventies; Jackson Browne, CSN, Bruce
Springsteen, James Taylor etc.
Influences, I would have to go back to why I started to play guitar.
When I was in high school, I wanted to communicate with other people
the way I heard songs reaching out to me. Like when you hear a song
and it's exactly what you would have said, it's exactly your life.
For 3 or 4 minutes you relate completely to someone else, and don't
feel so alone in the world. Mostly singer-songwriters like Joni
Mitchell, Rickie Lee Jones, Elvis Costello and Nanci Griffith, more
recently - Toad the Wet Sprocket, Aimee Mann and Letters to Cleo.
As for now, with the clutter of mindless crap being played on the
radio, I don't hear anything inspiring going on in music. If anyone
is hearing some great songwriters, please let me know. |
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_________________________________
For more information check out: www.marykarlzen.com
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_________________________________
Brenda Kahn
is a New York recording artist and the editor of WOMANROCK.com.
Past notes from the Editor. |
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