Nina Gordon is back after a gap of six years. The Veruca Salt co-founder wasn't sitting on her hands during this period. In fact she recorded a whole record but changed her mind and tanked the whole thing. Then she set out writing out new material, which resulted in her latest record "Bleeding Heart Graffiti". The disc is full of the sparkly rock that we were introduced to on her debut "Tonight and the rest of My Life". We talked to her recently to find out what took so long.
antiMUSIC: It's been awhile since your last output. Why the wait?
Nina Gordon: Well, I have been quite busy this whole time-I wrote and recorded a few album's worth of material, and it just took me a while to get it right. Also, I moved to LA from Chicago, fell in and out and back in love again, and have been living my life.
antiMUSIC: You reportedly scrapped some initial tracks with Ethan Johns. Were any of the tracks salvaged or did you start over from scratch?
Nina Gordon: I pretty much scrapped them all, not because I didn't like them-I did-it's just that the mood was a little too slow and sad, and didn't have the spirit that I was hoping for with these songs. So I re-recorded 9 out of 13 songs, and added a few new ones to make up BHG
antiMUSIC: Is there a theme to "Bleeding Heart Graffiti"?
Nina Gordon: Yes. When I was sequencing the album, I realized that there were a lot of references to the seasons of the year, and that the record documents the beginning, middle and end of a romantic relationship, so I tried to sequence it in seasonal and chronological order.
antiMUSIC: What are some of the tracks that came out better than you hoped?
Nina Gordon: I am happy with how all of the songs came out. It was weird because with a lot of these songs, I had done demo versions of them, then recorded them with Ethan Johns, and then a third time with Bob Rock, so it was hard to keep perspective sometimes. But I was really happy how they all took on a new life when I got them right with Bob.
antiMUSIC: You've got a host of excellent musical helping hands on the record. Is this a blessing or a curse, in that they probably help lay down the track really precisely but now you have to go out and get a different band to out on the road; one that has to capture the vibe as accurately as when first created?
Nina Gordon: Well, yeah. I won't be able to assemble THAT group to tour with me, but I will have a bunch of great musicians in my touring band. It's always different on the road, and you don't necessarily always want to recreate exactly what you did on the album.
antiMUSIC: What was it about Bob Rock's production work that agrees with you?
Nina Gordon: This is the 3rd album I have recorded with Bob. We work really well together, especially now, because we have such a rapport. He is really good pushing me to do my best work, and I trust him. I always know I am going to like what I sound like-and he sure knows how to produce a pop song.
antiMUSIC: "Pure" finds you singing in a bit of a lower range for the verses. It's something that really agrees with your voice. Did you purposefully want to mix up the vocal delivery a bit on this record?
Nina Gordon: No, I just wrote the song, and it happens to be a song where the verse is low and the chorus is high. At times I wanted to raise the hey, because the verse is pretty low in my range, but then the chorus was way too high. I didn't try to mix up the vocal delivery-the songs just dictated where I went vocally.
antiMUSIC: What are your plans for the foreseeable future?
Nina Gordon: Well, I am going to promote this album, and then have a baby in November. It's gonna make it tough to tour, but I will do my best-I am really proud of the record, so I don't want to sell it short. That said, I am so happy about having this baby, so it's hard to think about anything else!!
antiMUSIC: Anything else you would like to mention that I didn't ask you about?
Nope, can't think of anything at the moment, but thank YOU
Morley Seaver and antiMUSIC thank Nina Gordon for doing this interview.