At the start of his third album, RISE, in the song “Carry Me,” Roger Street Friedman confesses that, “You know a man just can’t change his stripes/I will ride this road the rest of my life…Mixing notes and words with piles of dust, One part obsession, one part sacred trust.”
Translation: The man is a songwriter, singer and musician. It’s in his DNA, his blood, the very fiber of his being. Friedman knows, because he’s stepped away from it for a time – and returned, even more passionate and committed than ever. And as he brings RISE, produced by fellow artist, Grammy winning producer, and longtime Levon Helm collaborator Larry Campbell, to the world, Friedman declares his status with pride and without apology.
Working with a handful of musical collaborators, RISE is an album that showcases Friedman’s eclectic and open-minded approach to crafting songs. On first listen, one might instinctively put this music in the Americana box, but it is actually much more than that as Friedman incorporates bluegrass, folk, twangy country, straightforward rock and even Celtic sounds into the album’s twelve songs. Lyrically, the album is filled with complicated characters and the worlds they inhabit, which translates to lyrics that resonate in a universal way.
Recently, we chatted with Friedman about the inspiration behind the new album, working with Larry Campbell, releasing an album during a pandemic and more.
Your new album, Rise, came out back in April. It really is a great sonic antidote for the tough times we find ourselves in. Can you tell us a bit about the record and the inspiration behind it?
Thanks so much! The record contains a collection of songs that were written over the last two or three years since the release of Shoot the Moon in 2017. There are number of co-writes on this one as well, as I was traveling down to Nashville to write quite a bit in 2018 and 2019. I guess I was trying to stretch out and open up to other perspectives and writing processes for this record. I wound up with about 30 songs, of which we selected 12 for the album. About half of these are co-writes. I would say the inspiration behind the album, beyond continuing to explore my own inner world through the catharsis of songwriting, was to put something out that would bring listeners to a place where they can feel as well as think. The album’s 12 songs are in equal measure about the difficulties and beauty of love, life, and the human condition. The title track “Rise” is about the state of the world and the ability of human beings to continue to progress toward a more just and peaceful world. Sonically, I was going for a real Americana vibe, and Larry Campbell, who is one of my all-time favorite players and producers, was a perfect fit for the production.
How was the recording process for the album? How was it working with Larry Campbell and what did he bring to the table?
I sent Larry about 25 work tapes to listen to, and out of those he suggested the final 12, and I agreed wholeheartedly. We got together for a pre-production session and worked through each tune and the rough arrangements. He made a lot of great suggestions at that stage, mostly having to do with arrangement issues, adding a musical bridge here or a chord substitution there, but also a few lyric tweaks as well. For example, originally the song “Over and Over” – which is about how many relationships start out wonderfully and then go south – had a pretty sad ending and was really pretty depressing! He asked if I wouldn’t mind making it a little less sad, so at the end of that session I had some homework, which was to write a third verse. It was on my mind for most of the recording process, and, after many tries, the final version came to me just before it was time to sing lead vocals!
Working with Larry was really the highlight of my career to date. I’ve had a lot of highlights from the first two albums, but Larry brought a depth to the sessions, both in terms of production and sheer musicality, that I had not experienced previously. He’s also one of the nicest human beings on the planet and made everyone who came into the studio feel at ease and ready to bring their absolute best to the project. I was amazed by the level of detail with which he approached the role of producer. From the rhythm section right through to the overdubs, he brought his years of experience to bear and heard each track in its totality. I think he had a vision for each track, and I think his vision brought the whole record to another level. Also, he played electric and acoustic guitar, mandolin, pedal steel, and fiddle on the record. I got to engineer all of his overdubs, and it was like a master class in musicianship. He’s just an incredible musician and obviously fully deserves the legendary status he’s attained.
Which songs do you consider the stand-out tracks on the album? Why do you feel they resonate most for you? Which songs have gotten the best fan feedback?
“Carry Me” has gotten a ton of great feedback and some traction on radio and Spotify. The video has been viewed over 64k times on Facebook. I think it’s a great, pure Americana song. I think “Lessons,” “Rise,” “The Strange Shape of Love,” “The War is Already Over,” “Last Train to Babylon,” and “Outcasts of Love” are real standouts, both from a songwriting and production standpoint. The fans have responded to all of those. I may be biased, but I don’t think there’s a dog on the record! LOL.
Promoting an album during a global pandemic cannot have been easy. How have you managed to do it? What obstacles have been the most difficult? Did fan reaction or feedback feel different because of the circumstances at all?
I think the hardest part is not being able to get out and tour in support of the record. So, while it’s out in the world, it’s difficult to gauge how successful it’s been. Getting press is challenging because there is so much other news out there, and a lot of major artists are releasing music as well. Having said that, the press the record has received has been overwhelmingly positive, and the fan reaction to the record has been amazing. We’ve produced some very compelling videos to try and make up for not getting out on the road. I don’t know when we’ll be able to tour again, but I really can’t wait. One major disappointment was that we had the album release show scheduled right around the release date in April at the legendary venue My Father’s Place in Roslyn, NY, which would have been a double bill with Larry Campbell and Teresa Williams. The show was just about sold out two months in advance and had to be canceled due to the pandemic. That broke my heart.
You have your own studio. Have you found yourself working in there on anything new during quarantine?
To be honest, during first four to six weeks of the lockdown, it was very hard to find the motivation or the time to create new music. It was such a confusing and disorienting experience for our entire family, and the whole country, of course. The kids were home, and we were all trying to figure out how to stay safe, with questions like are you supposed wipe down the bananas with a disinfectant wipe, or leave the FedEx box outside for 24 hours before unpacking it, etc. It took a while just to figure out daily life in this new and uncharted reality. Then the George Floyd tape went public and the protests started, and, all of a sudden, I found myself in the studio doing quite a bit of writing. I’m currently recording some demos, with members of my band adding tracks remotely. We’re having a good time getting together on Zoom to work on the tracks. It’s a new way of working but we’re enjoying it.
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Speaking of your studio, you’ve been livestreaming from there. Have you been enjoying connecting with fans in that way? Does it satisfy your yearning to play live in front of an audience, or is the distance from the audience still distinctly felt? How has fan reaction been to your livestreams?
It’s a really good question! It is great, and it is also very strange. It definitely satisfies a portion of the yearning, and when the comments are coming in, it’s great to see who’s out there listening and to be able to take requests and thank people individually for tuning in. I guess it’s almost more intimate and one-on-one, in a sense. Having said that, it is no substitute for being in front of a live audience, and I know I speak for every performing musician when I say we absolutely can’t wait to play for people in person again! Having a studio helps in that I have dialed in the sound, so the quality is very good. I’ve also been raising money for a local food bank through the livestreams, and it’s been gratifying to see how generous people are during these difficult times.
When you are able to tour again, what is the first song you’d want to play live on stage in front of an audience, and why that song?
I think it will have to be something that rocks… so “Outcasts of Love” or “Last Train to Babylon.” I think we’re really gonna want to let it rip!!
Your music straddles some genres… Americana, roots, rock, folk, some blues. What do you feel informs your sound? What artists inspire you the most, both past and present?
Most of my writing starts with the guitar. I will be just noodling around and find a riff or motif and just follow where it goes. I don’t think too much about genre at that point. If the idea is something that I wind up pursuing and it has a certain vibe, then I may develop it along those lines. I have a certain wheelhouse of styles that I gravitate to that have just evolved over time. I would say my main influences are all of the amazing singer-songwriters of the ’60s and ’70s like Joni Mitchell, Paul Simon, Jackson Browne, Bob Dylan, Cat Stevens, and Randy Newman, and, of course, The Beatles and The Stones. They really informed my early musical life. I spent quite a bit of time in my tweens and teens listening to rock and progressive rock bands like Zeppelin, Yes, and King Crimson, although that hasn’t really migrated into my music to any great extent. I went through a huge Joan Armatrading phase – I love her writing and her voice – and right around that time I was introduced to Shawn Colvin. I’m a big fan of The Band. Lately, I’ve been listening to a lot of Jason Isbell’s earlier stuff, Son Volt, and I love Lori McKenna! The Bird and The Rifle is a masterpiece of songwriting and production in my opinion.
What’s next for Roger Street Friedman?
To hit the road as soon as possible. And I’m also thinking about getting to work on the next record sometime in spring of 2021!
For more info visit rogerstreetfriedman.com.
Photo credit: Drew Reynolds
