Jason Gallagher of Leroy Justice was kind enough last year to shed a little light on the recording sessions for Revolution's Son - the band's debut record - and talk to us about the bright lights of the big city.
CBTS: First off, let me congratulate you on Revolution's Son. Tell me what it's like working with John Siket. How did it all come together, and how much did you know about him beforehand?
JG: The recording of the album was done when it was possible and where it was possible...very much in pieces, but we were still aware of the overall tone of the album. That's pretty much the only way a struggling band in New York City can do it, unless they have funding or a record deal. So we pooled our money together and made it happen. We started recording at Threshold Studios in Manhattan, and the owner there brought in Siket, an old friend of his, to engineer. We got along like old friends, and appreciated his skilled yet laid back style. He made us sound great, and we laughed the whole time. There was an unspoken kind of vibe, like, "make this sound great", and then he would do exactly that.
I didn't know much about Johnny, but Sloan (Marshall, keyboards) knew The Siket Disc, the album he did with Phish. So, we got some good stories as you might imagine! After the Threshold sessions, we recorded some drums and bass at The Cutting Room studios on Broadway, and I recorded a lot of the guitars and vocals in our rehearsal studio and in my apartment on Protools. We took all those tracks back to Siket and mixed the hell out of them. He really touched them with magic, because they sound amazing, and we have to give him most of the credit for it.
He engineered Crash for the Dave Matthews Band - which was produced by Steve Lillywhite - and during one of our mix sessions, this blonde dude came into the studio. I got a little distracted because all of the sudden, there's this stranger walking around during our session. So, I walk into the control room and Siket is like, "J, I want you to meet my friend, Steve Lillywhite". So we all shit our pants, and then played him "It Rains It Pours" because that's what we had up on the mixing board. He bobbed his head along and said, "Rockin'." - and that's about it! It was pretty funny.
CBTS: Siket has worked with some rather iconic artists throughout his career. Both Phish and Sonic Youth come to mind, as well as many others. While you were working with him, was there any additional pressure on you as an artist because of the history and experience he brings to the table?
JG: Honestly, from the very beginning, John was like a friend to us. (He was) on our side. It was like we had an understanding of what sounds good, and we were trying to make it happen together. Plus, we're a pretty confident band, and we knew we loved our music. So to be partnered with someone as talented as Siket, we knew it would just help us translate what we do live and in rehearsal to tape.
CBTS: Dennis Cook from Jambase was quoted in his article on Leroy Justice as saying, "...their debut mixes youthful energy with a surprising confidence...the young Bruce Springsteen in his arc towards "Born To Run" also springs to mind." Is receiving praise like that daunting for new songwriters on the scene, in the sense that once people start to say things like that, there will always be an expectation placed upon you - either by yourself or by the media - to maintain that kind of approval?
JG: When you write songs in your bedroom and start to play them with a band, you hope someday someone will think enough of them to write kind words like that. But once they do, you try not to think about it, and just look forward to something bigger and better. It's still pretty early in our press/media career, so it's still kind of funny to read stuff like that - almost like it's not real, like it's a friend just blowing smoke up your ass. We try not to think about it as the real world.
CBTS: I've been fortunate enough to see Leroy Justice perform many times. Your shows have an effervescence about them that recall the emotions that one too many late nights can stir up, or one too many crooked smiles; stories that are sometimes sad, and sometimes sweet, but are always a celebration of what is merry and free. What is it about the band members as individuals that make that vibe so prevalent when you guys get together and play shows?
JG: We love to play loud music. I just try to keep up with the band and write words as fast as we make the music. We're all sort of addicted to the high of the good rock song. There's something amazing that happens when the five of us reach a new point in jamming that is unspoken and undeniable. We try not to analyze it too much. It's like we don't want to jinx it.
CBTS: Being from New York City - a city that isn't typically known for the type of sounds Leroy Justice is creating - how important is it to the band to make sure that the spirit of NYC comes across in the music?
JG: Everything moves pretty quickly in the city, and it creates an intensity that you get addicted to after awhile. You don't realize it's there until you get away for awhile, then you know you have to get back to it...back to the life of New York. That's kind of how our music is to us...very addictive, and very intense. I think the southern feel comes from our backgrounds and tastes, but the spirit is all New York, and I don't think we can do it any other way.
CBTS: Thanks for your time today, Jason. I was hoping you could take us home by telling me a little bit about playing the South-by-Southwest festival, and your experiences there.
JG: We played South-by-Southwest twice, once in 2003 and again this year. Both times we had a blast. Our touring experience is limited, so any time we can get to Texas and eat some great BBQ and drink some beer - and rock - it's all good. Plus, we saw Willie Nelson in '03. It doesn't get much better than that!
CBTS: First off, let me congratulate you on Revolution's Son. Tell me what it's like working with John Siket. How did it all come together, and how much did you know about him beforehand?
JG: The recording of the album was done when it was possible and where it was possible...very much in pieces, but we were still aware of the overall tone of the album. That's pretty much the only way a struggling band in New York City can do it, unless they have funding or a record deal. So we pooled our money together and made it happen. We started recording at Threshold Studios in Manhattan, and the owner there brought in Siket, an old friend of his, to engineer. We got along like old friends, and appreciated his skilled yet laid back style. He made us sound great, and we laughed the whole time. There was an unspoken kind of vibe, like, "make this sound great", and then he would do exactly that.
I didn't know much about Johnny, but Sloan (Marshall, keyboards) knew The Siket Disc, the album he did with Phish. So, we got some good stories as you might imagine! After the Threshold sessions, we recorded some drums and bass at The Cutting Room studios on Broadway, and I recorded a lot of the guitars and vocals in our rehearsal studio and in my apartment on Protools. We took all those tracks back to Siket and mixed the hell out of them. He really touched them with magic, because they sound amazing, and we have to give him most of the credit for it.
He engineered Crash for the Dave Matthews Band - which was produced by Steve Lillywhite - and during one of our mix sessions, this blonde dude came into the studio. I got a little distracted because all of the sudden, there's this stranger walking around during our session. So, I walk into the control room and Siket is like, "J, I want you to meet my friend, Steve Lillywhite". So we all shit our pants, and then played him "It Rains It Pours" because that's what we had up on the mixing board. He bobbed his head along and said, "Rockin'." - and that's about it! It was pretty funny.
CBTS: Siket has worked with some rather iconic artists throughout his career. Both Phish and Sonic Youth come to mind, as well as many others. While you were working with him, was there any additional pressure on you as an artist because of the history and experience he brings to the table?
JG: Honestly, from the very beginning, John was like a friend to us. (He was) on our side. It was like we had an understanding of what sounds good, and we were trying to make it happen together. Plus, we're a pretty confident band, and we knew we loved our music. So to be partnered with someone as talented as Siket, we knew it would just help us translate what we do live and in rehearsal to tape.
CBTS: Dennis Cook from Jambase was quoted in his article on Leroy Justice as saying, "...their debut mixes youthful energy with a surprising confidence...the young Bruce Springsteen in his arc towards "Born To Run" also springs to mind." Is receiving praise like that daunting for new songwriters on the scene, in the sense that once people start to say things like that, there will always be an expectation placed upon you - either by yourself or by the media - to maintain that kind of approval?
JG: When you write songs in your bedroom and start to play them with a band, you hope someday someone will think enough of them to write kind words like that. But once they do, you try not to think about it, and just look forward to something bigger and better. It's still pretty early in our press/media career, so it's still kind of funny to read stuff like that - almost like it's not real, like it's a friend just blowing smoke up your ass. We try not to think about it as the real world.
CBTS: I've been fortunate enough to see Leroy Justice perform many times. Your shows have an effervescence about them that recall the emotions that one too many late nights can stir up, or one too many crooked smiles; stories that are sometimes sad, and sometimes sweet, but are always a celebration of what is merry and free. What is it about the band members as individuals that make that vibe so prevalent when you guys get together and play shows?
JG: We love to play loud music. I just try to keep up with the band and write words as fast as we make the music. We're all sort of addicted to the high of the good rock song. There's something amazing that happens when the five of us reach a new point in jamming that is unspoken and undeniable. We try not to analyze it too much. It's like we don't want to jinx it.
CBTS: Being from New York City - a city that isn't typically known for the type of sounds Leroy Justice is creating - how important is it to the band to make sure that the spirit of NYC comes across in the music?
JG: Everything moves pretty quickly in the city, and it creates an intensity that you get addicted to after awhile. You don't realize it's there until you get away for awhile, then you know you have to get back to it...back to the life of New York. That's kind of how our music is to us...very addictive, and very intense. I think the southern feel comes from our backgrounds and tastes, but the spirit is all New York, and I don't think we can do it any other way.
CBTS: Thanks for your time today, Jason. I was hoping you could take us home by telling me a little bit about playing the South-by-Southwest festival, and your experiences there.
JG: We played South-by-Southwest twice, once in 2003 and again this year. Both times we had a blast. Our touring experience is limited, so any time we can get to Texas and eat some great BBQ and drink some beer - and rock - it's all good. Plus, we saw Willie Nelson in '03. It doesn't get much better than that!
