The Strawberry Lover
melanie jones interviews jess klein
After just seven years under Rykodisc Productions, Jess Klein has released three critically acclaimed acoustic-folk albums, had single “Strawberry Lover” debut as the number one most-added album on an adult alternative radio station, and launched a worldwide tour, including a sold-out appearance at the Fuji Rock Festival in Tokyo. Her latest, “City Garden,” earned a perfect rating by MOJO, Britain’s leading music magazine, and caused the Boston Globe to dub her “quite simply one of the most gifted performers.” Yet if not for an audition attended on a whim in her late teens, this extraordinary singer-songwriter would never have entered the music business. Through some extensive e-mailing, Jess Klein let Melanie Jones in on the secrets of fame, her musical inspirations, and why subtlety speaks volumes.
You were living in Kingston, Jamaica when you were “discovered” in your late teens. Had you ever considered a career in music before then?
I sort of stumbled into songwriting—I was living in Jamaica and had just recently learned from a friend of mine back at school how to play a couple of guitar chords, so I talked my dad into letting me dust off his old classical guitar and brought it to Kingston with me. I really just thought it was cool that I knew a few Indigo Girls songs—I hadn’t written any on my own yet. But I’d always loved writing short stories when I was growing up. Somehow, being outside of my snowy upstate NY world opened a door in my mind, so I started writing songs about homesickness, culture shock, and also the warmth of the people I was meeting. Jamaican language sounds musical, whether people are speaking patois or English. Also people think of music more as a part of daily life, I think. It’s not only famous people who sing. Loads of people play guitar for fun. I think all these things shook me loose, and I had the guitar around and a lot of time on my hands, so I just went for it.
How do you get inspiration for your songs?
Almost always I hear a melody or bass line first. I don’t know what it is about the bass line, but I really lock into that part. It’s grounding. I separate the bass line a lot in my guitar playing too. It’s helpful when I play solo because it can be percussive and it adds depth. This is why I love the blues so much—rhythm and low notes topped by someone wailing—they’re free to go off because the bass grounds them. If I hear a melody first, which happens a lot, sometimes that’s trickier, because then I have to figure out the chords to go under it. But that’s still freer to me than trying to write a melody over a guitar part, even though I do that sometimes too. No rule, really.
The song “Flirting,” based on your experiences working in a New Jersey deli, is a great anthem for young women to stand up for themselves. Do you always try to bring a message to your songs?
I only try to bring messages to my work that are so clear, at least to me, that they can’t be mistaken for self-righteousness. I’m saddled with a huge ego, and music is the place where I get to lose it. I just try to speak from the deepest part of me, whatever she has to say. She’s usually smarter than my ego. My ego would be like, “Make him like me! Make everyone like me!” But my soul knew better. Lots of women have had those experiences of course. We’re all so powerful. It blows my mind the knots we get tied in.
Who are your biggest musical influences?
First it was the Police, because that’s what my stepsister was into. Then mostly Motown because my mom listened to a lot of the Temptations, Smokey Robinson, the Four Tops. When I was in high school I got more into classic rock—my best friend had a tattoo of the Rolling Stones’ lips on his backside. I didn’t go that far, but they’re one of my all-time favorites. I never get tired of “Street Fighting Man.” I also got into Sex Pistols, U2, Tom Petty, the Pretenders. Eventually Dylan. More recently I went back and listened to more ’60s-era Chicago blues—Buddy Guy, Magic Sam, Junior Wells, Howlin’ Wolf. Those albums mean so much to me, words can’t describe.
The music industry is cutthroat. How hard is it to keep your confidence up and stay true to your artistic vision? You made me laugh at one of your recent performances. Do you use your humor to help you cope?
I had to struggle to get to a place where I feel that no one can take my career from me. I went through what a lot of artists did when the industry started to change completely—all the people who’d known and loved me at my first label were gone, and the new group had no interest in me. I remember my manager saying, “One thing I love most about you is your car.” So I just went and drove myself around the U.S. and U.K. (different car there) and got myself to the shows and played for 20 people a night until they told their friends, etc. It’s the only way to build something no one can take away—to sing for people live. Being a musician can be hard work—you’re never home, you sleep in a different motel every night, you’re never anywhere for more than a couple days—so you have to need to do it. I need to do it. Unveiling my soul for an audience is my way of serving the world.
“Strawberry Lover” was voted one of US Daily News’ “Top 10 Sexy Songs of the Moment,” along with Fifty Cent’s far more graphic “Candy Shop” and Destiny’s Child’s “Soldier.” “Soda Water” is another very sensual song but with lyrics that rely heavily on innuendo. Do you find that songs are sexier when they’re subtle? Is it ever difficult to perform more sensual songs live?
I feel safe when I perform songs that reveal my sensuality and vulnerability. It took some time to realize, but there’s no point in hiding on stage. It’s safe, so I feel I can be the most soulful part of myself. I do tend to find subtlety sexier than brashness, but I like to play with both sometimes, depending on the situation.
Your style is very pure and emotive, with an almost spiritual intensity. Has that sound always been with you?
It’s always been with me, though it’s gotten covered up from time to time by fear. When I feel connected to that line of energy though, it feels indisputable. I don’t care if anyone likes it on some level, because it’s true to me, and it feels much larger than me at the same time.
How do you feel about where you and the music industry in general are right now? Where do you hope to be in the future? Is there something you’d like to see changed about the business?
I love to write. I’m writing now—I mean, songs, not just this interview. I hope always to be writing. I’m moving to Austin in a couple months. I’m looking forward to picking up some great musicians there to play with. I think music is always with us—people naturally respond to the vibration of sound. I hope our mainstream culture becomes more re-attuned to that. I think it’s gonna happen. \\\
Klein continues a national tour April 25 at the Knitting Factory on Leonard Street. Tickets are $15 in advance, $17 at the door.