“Artistically, LA’s a disaster. It’s full of amazing stories. But as a city, it’s not a city. Nobody but bus-drivers see the whole place.”
Singer-songwriter, musician, inventor, dad, reader, and writer David Baerwald joins the show to talk about the ups and downs of his career in the music biz, his crazy family history, the perils of grafting personalities onto up-and-coming musicians, and why he doesn’t trust happiness. We also talk about the Watchmen-like trail of destruction that followed Sheryl Crow’s breakthrough album, why the drug business is notoriously filled with short-tempered people, how being a script analyst for a movie studio taught him how to write a song, and why he’s a firm believer in the notion that to tell a big story, you have to tell a small one.
“You just want to do something decent when you make a record, but then it becomes a whole thing. It becomes an industry, and you’re always on display and people are tearing you apart psychologically, and you just feel like a buffoon.”
We also get into the difference between writing poems and writing songs, the writers who inspired his work on the David + David album, Boomtown, and why he thinks Thomas Pynchon understood things about the world that people are only now coming to grips with. (BONUS: I clean up some loose ends from last week’s podcast with Merrill Markoe)
About our Guest
David Baerwald was one half of David + David (along with David Ricketts), a band whose one album, Boomtown, scored a gold record. They split up and Baerwald put out several solo records — Bedtime Stories, Triage and Here Comes The New Folk Underground — between 1990 and 2002. He’s written songs for plenty of acts you know, and he wrote many of the songs on Sheryl Crow’s breakthrough album, which is a story he gets into in our conversation. He’s also done a lot of work in movies and TV, both scoring music and writing songs. David’s IMDB page lists many of his songwriting credits, including Come What May, the love song for Moulin Rouge, which was nominated for a Golden Globe award. He also wrote Supermodel, for the movie Clueless, which proves he’s not ALL grim and gloomy.
Credits: This episode’s music is Welcome to the Boomtown (David + David), Colette (David Baerwald), If (David Baerwald), and Heroes (David + David). The conversation was recorded in Mr. Baerwald’s home on a pair of Blue enCORE 200 microphones feeding into a Zoom H4n recorder. The intro and outro were recorded on Blue Yeti USB Microphone. Processing was done in Audacity and Garage Band. Photo of Mr. Baerwald by me.
It’s our Hanukkah edition of Unrequired Reading! Lots of Jewish posts for you to check out!
What I’m reading: Didn’t have much time to read this week, so I’m still on Raymond Chandler’s The Long Goodbye and Jason Lutes’ Berlin. I don’t anticipate getting much reading in next week, with all the work on our October issue and our conference ahead.
What I’m watching: the last series at Yankee Stadium.
What I’m drinking: Plymouth & tonic.
What Rufus is up to: Greyhound Planet picnic in Bridgewater, NJ, baby!
Where I’m going: New Brunswick, NJ, baby!
What I’m sad about: They didn’t call me or my blog by name, so now I have yet another alias: Chimera Obscura. Sigh. I shouldn’t complain, considering I have at least six active e-mail addresses.
What I’m pondering: How working for the Long Island Rail Road seems to be a more dangerous occupation than Alaskan crab fishing.