Plugging into Modern Southern Rock: My Interview with Kim Logan

 Behind the full-bodied and slightly sweet vocals of Southern Rock singer-songwriter, Kim Logan, is a fiery woman who know what she wants and what she is about. Lyrics like I’m a real good catch and I know it… from “Voodoo Man,” And I’ll give you three, but no more, turns across the floor/ But then it’s your turn, boy you better learn to be a gentleman, from the chorus within “Gentleman,” and finally, I ain’t someone’s other half/ I don’t like you baby, but I’m like you baby/ I think I love you but I don’t know if I should/ because there’s already one of me in the neighborhood from the song titled “Neighborhood,” which you won’t find on her first full-length record, but on the landing page of Kim’s website, will get the message across to any listener.

Although she recently turned 23, Kim has had a long road of musical development and plenty of real-life experiences which she transforms into great songs. In addition, she has an attitude about music today that matches the female empowered persona portrayed in her tracks.

“In the music industry today… It takes at least twice the work for a woman to accomplish half as much as a man. I really want to break that ceiling, and someone who has inspired me with lyrics, statements and actions has been Lady Gaga. What really disturbs me is Classic Rock and Southern Rock does not have somebody like that,” says the young musician. “I want to be the new millennium woman, the Lady Gaga of southern music, telling women and all creative spirits that it [the music industry] doesn’t have to be gender divided anymore.”

I agree with Kim on the subject of women in the industry. Daylle Deanna Schwartz, New York City’s first white female rapper will tell you that in the ‘80’s, women used their bodies to get ahead in the industry. Look back at the history of the American industry in your own personal time, and you will see women were only given two masks to wear – the emotional exhibitionist who was a sex object, or the unsentimental, bitter and passive-aggressive woman. Both of these facades are one-dimensional and superficial and sadly, female musicians are still expected to put on these faces today.

On a brighter note, there are female artists in country music that did not play either of these roles during the pinnacle of their careers, and led and continue to lead by a more positive example. One woman that comes to mind is Dolly Parton. I asked Kim about her thoughts on this, and while she agrees Ms. Parton continues to positively speak up for women’s and gay rights, her prominent years were the 60’s, 70’s and 80’s. The Southern Rock scene needs a fresh young face, and Kim hopes to be one of those new faces.

Yes, Kim is a very ambitious young woman. So I listen to her story of how she got into the industry, the positive experiences she had along the way, and what she wishes to make of them. In doing so, I begin to understand what fuels this passionate musician’s ambition, and why she chooses Southern and Classic Rock to tell her stories to the public. I am happy to welcome Kim to Music Historian.

Kim credits her mother and father for their support in her long road to becoming a singer songwriter.

“I always wanted to sing and my Mom worked in pubic relations and events for some really amazing people in the 90’s like singer songwriter Charlie Daniels, Southern Rock bands [like] Molly Hatchet and the Marshall Tucker band.

“I developed a special bond with Doug Gray, the guitarist from the Marshall Tucker band, and when I was about 9 years old, I was talking to him during one event weekend and he said I should go out on stage with Charlie Daniels at the end of the show and sing with him during a jam. Doug and Charlie jammed together after the show.

“I believe we sang “Amazing Grace” and Doug kicked my ass out on stage. Singing with Charlie and Doug is when I got the [rock ‘n’ roll] bug. I went to my Dad and told him I wanted to sing professionally, and I think my Mom had already realized that. My parents said “you’re going to do it right,” so they put me in classical and vocal training and the opera program in Sarasota, Florida for about a decade. This started when I was turning 9, and I did this all through high school.”

During this time, Kim also picked up the guitar. Her motivation was to accompany herself in her singing and songwriting.

“My parents got me a guitar and my father told me I wasn’t allowed to play electric guitar until I made my fingers bleed on my acoustic guitar, which he was right about,” says Kim. “I don’t know where I would be without a guitar in writing. I can’t do without it in the writing process, I want to have control over the writing process.”

Throughout high school, Kim also participated in additional musical activities such as playing in punk bands, party bands, blues and classic rock bands. Whether it was opera or songwriting, she was always singing.

Kim’s strong classical education helped her get into the Berklee College of Music in Boston for vocal performance. However, her desire to play honky tonk and rock ‘n’ roll made it difficult for the young artist blend into the Boston music scene.

“I think, at the turn of the millennium, everybody just got so crazy with music technology and music school, and students at Berklee had all of this new equipment available to them, they were held up in their dorm rooms tracking themselves and playing shows for other students,” expresses Kim. “It was also that weird blog [phase] that happened at the same time… and for the first 10 years of the new millennium, I think everyone was a little too innovative and saturated with music technology to get out to a show and plug their amplifiers into a wall and play. I wanted to play, not sit in a classroom anymore.”

So, the artist moved to Nashville to perform, record and tour. “Nashville is very centralized,” she explains. “I have been able to hit the entire deep south, including Texas, and then come back up to New England, and Chicago. I very briefly studied at Belmont, but that was more of an afterthought because my schedule for years has not been conducive to a classroom environment.”

Thankfully, Berklee College reached out to Kim while she was pursuing her career and Nashville, and she is now completing her music degree online. She hopes to obtain her degree from Berklee soon. Although Kim has been in and out of school, she never stopped educating herself in the history of American genres. Through self-education, she learned to appreciate some of her songwriting heroes and favorite musical styles. She explains:

“It really comes down to the fact that I am obsessed with Music History. Before I was in college, I sought to learn the history of the genres in contemporary music myself. I would just dive into everything from the 1860’s civil war tunes to jazz and the blues.

“What really lit my fire was the father and son team of John and Alan Lomax, who went to the Appalachians and the deep southern terrains and did their field recordings. When I learned about that, and the Great Depression, and where everything after that comes from, it helped me understand the songs of Jack White and heroes of mine who, have also gone back and learned the same things. I felt like I was going back and strutting the same path, learning the same things in order to create my own contributions.

“My potpourri of different stylistic attempts comes from a deep love of other genres of music and re-creation of southern and grace, and different types of music. This lets me stretch my muscles in songwriting and vocal performance. That’s sort of my life’s work there.”

 Pick up Kim’s self-titled debut and you will hear how she flexes her songwriting muscles. “Black Magic Boy,” a Southern Rock song with a grimy tin-like effect in the guitar will leave you feeling like you transcended into a barroom in a southern part of the U.S., perhaps New Orleans. Listen to “Devil Makes Three” and the pitch bending produced by the steel-peddle and the major melody within the tune makes one feel like they are driving through a small sunny town in the Midwest. Then, there is the blues-infused track “Gentleman” which includes soulful vocals that back-up Kim in the chorus.

Aside from her style of writing, Kim continues to display her love for music history in the Vinyl production of her debut record. I asked what attracted her to recording with analog equipment, as opposed to staying strictly with digital.

“It is a science that non-compressed music and sounds, which have not been diluted digitally, are much warmer, more open and richer,” explains Kim. “I recorded the album at a converted church, and I pressed the record at United.

“I am passionate about vinyl records, no matter who represents me or what management I am under. We want that instant gratification and that quick satisfaction of logging onto Spotify and hearing something from somebody’s iPhone or their party. When you are at a live show though, you are listening to real live music, and you want to take home a vinyl of that record so that you can listen to it and understand the artist’s brain, and why they felt it was necessary to create that thing.

“It’s plain and simple, but that is the best method of listening to what a musician has to convey and say.

“I do think analog and digital can go hand-in-hand, they both can be complementary.”

I remember reading articles in Brooklyn-based publications, like Brooklyn Magazine and I heard that the vinyl is making a comeback in some music communities. I thought back to when I had researched Kim Logan before I contacted her for an interview. Specifically, I recall feeling surprised when I learned about some of the other artists on the Artists on the Verge roster for the New Music Seminar, who also make Southern Rock music – The Blackfoot Gypsies, Jamestown Revival, and Carolina Story. I thought to myself ‘something is happening within the Southern and Classic Rock community somewhere in this country that is getting industry players here in New York City excited.’ In regards to Kim, I wanted to know what made her passionate about classic rock, and the other form of classical music that attracts her, opera.

“It really is the timelessness in a piece of artwork. Each movement, whether it was classical, romantic or experimental in opera, were associated with distinct feelings. It was both a genre and community.

“I feel that way about classic rock and I feel that way about the blues, classic country, and the new wave of classic country that is currently happening. You have a community of artists who are trying to achieve a certain standard while enjoying art as much as possible.”

As I got to know more about Kim, talking with her in the very crowded and active second floor lobby of the New Yorker Hotel, I wondered about her personal observations of the music communities throughout the U.S. What did she think about the scenes throughout the different places she has lived?

“The scenes are going to be completely different in almost every city in America. Everything springs from the ground up. There are very different kinds of people in New Orleans, Atlanta, Nashville and Chicago.

“I think Nashville and Brooklyn have become my favorites. I spent a lot of time in the Boston and Brooklyn scenes trying to connect with some of the bands, who came from indie pop music. There were many blog-driven Pitchfork bands with whom I did not connect. I was happy to take my act to Nashville where I not only played with large bands, but also became a fan of the bands.

“As Americana has taken hold, and as retro recordings make a comeback, like vinyl, it feels good for musicians playing rock ‘n’ roll, country and soul.”

While this young artist works towards greater goals like being a positive role model in the Southern and Classic Rock genres; like every savvy business person, she is always setting little goals along the way. Kim self-produced her debut. At this time, she gets ready to make a second record with producer, Dave Cobb.

“I am excited to work with this guy because I think it will provide the perfect combination for what I want to hear on my record, and what I want everyone else to hear. I am returning to the studio in the late summer and I am aiming for a Fall release.

“I think I am going to tour on it, and start the whole cycle over again. I think I have beaten this last record almost to death, and it’s time to get some new material.”

At the moment, Kim is currently unsigned. If any producers or A&R agents in New York City plan to attend CMJ in October, I encourage you to check out one of Kim’s shows.  If you are an industry player in Nashville, watch out. She is playing several shows throughout the summer.

Between her move to Nashville in 2010, and the release of her debut in 2013, and her appearance at the New Music Seminar, so much has changed for Kim, and the development of her career continues.

“I have put out records in March of 2013 after I had gone down to the SXSW Festival and I did not have merchandise nor any recordings, and I scrambled to release this record so that I could take it on the road. Then, I got an article in the Nashville-based Native Magazine, and it all kind of tail-balled in the last year and a half.

“I’ve been on the road, and I have been working my ass off, and the iron happens to be hot. Absolutely everything has changed, and I’ve checked a lot off my list since then. I’m really grateful, and I want to go to as many places as possible and bring the best records there. It will only get busier.”

Music history lit this young artist’s fire. Plugging-in to a performance space with other musicians and making something happen helps feed that passion. Whether listeners are attracted to her country songs, driving rock ‘n’ roll riffs, or blues-infused choruses, they are bound to hear the voice of a woman who delivers stories about her real life experiences through clever lyrics, thoughtfully written compositions, and warmly recorded sounds.

She might be a combination of a music nerd and a young woman who reveres the Southern and Classic Rock legends who were big in the 60’s through the 80’s, and in the early millennium. Regardless, Kim Logan has found her voice within this genre, and she flexes it freely. She comes to the city as much as possible to bring her sound to Southern and Classic Rock lovers here in New York City, Nashville and just about any city she can reach. Kim says, “I want to get people excited about it, and I want people to put money, time and energy into real music, with real instruments.”

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One response to “Plugging into Modern Southern Rock: My Interview with Kim Logan

  1. Pingback: The Best Artist Interviews of 2014! | Hear, Let's Listen

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