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2003
Rockzillaworld (USA, January 2003, interview)
Europeans In Americana Music: Markus Rill (by Marianne
Ebertowski)
American readers might ask why in Hank's name they should be interested
in Europeans singing and playing "their" music and those
who have read "Americana Music in Europe" undoubtedly
noticed that many Europeans ask themselves the same question because
most say they prefer the American "originals." However,
there are European artists who are the real thing for the simple
reason that they have grown up with American music even though
they were born and raised on the old continent. One such hybrid
creature is German singer/songwriter Markus Rill. Miles Of Music
praised Rill's "boot-dirt authenticity," while Glitterhouse
called him "the most Texan of the German songwriters."
In a recent interview, the young man from the southern Germany
has a deep longing for the American South.
Markus:
I'm from Frankfurt, with no family ties to the US whatsoever.
As a kid I got hooked on rock'n'roll and rockabilly stuff in the
watered-down version of a slightly ridiculous Welshman named Shakin'
Stevens. His first big hit in Europe was Dave Alvin's "Marie,
Marie," so he wasn't all bad. When I was nine years old my
parents took me on a vacation to California. That way, I got a
head start when we learmed English in school. In my teens I felt
drawn to stuff that wasn't popular with my classmates at all,
especially John Mellencamp. Through him I was turned on to Dylan,
Woody Guthrie, and the like. I realized that I had a lot more
respect for artists who wrote their own songs. I also realized
that I paid a lot more attention to the lyrics than my classmates
did. Maybe because I understood 'em better."
"When and how did your professional career start?"
Markus:
"Gee, I'm still not sure I'm professional. I've been playing
in bands since I was 18, trying to write my own songs. The bands
got better and some of my songs were used, but I always had songs
that were considered too country or too mellow for a rock band.
Then I went to study English, politics, and sociology at the University
of Texas in Austin for a year. Of course, what I really studied
was songwriting, performing, and guitar playing at the Cactus
Cafe, the Saxon Pub, and the old Chicago House. I went to every
open mic in town and after half a year or so I was good enough
to get showcases and regular gigs. No one cared that I was German,
and some folks didn't even notice. When I was back in Germany,
I had the good luck to open a show for Townes van Zandt. After
that, I decided to do things my way. I scraped a bit of money
together and rounded up some musician friends to record a mostly-acoustic
CD. That self-released CD (Gunslinger's Tales, 1997) sold a lot
better than anyone expected and it gave me the opportunity to
put a band together. That is how I got a deal with the German
Blue Rose label for my second album, The Devil And The Open Road,
that was released two years later."
"Do you have a special relationship with Texas? What was
the weirdest/funniest/best experience you had there?"
Markus:
"Do I have a special relationship with Texas? Hell, yeah!
The year I spent in Austin was the best year of my life! I got
there and I immediately felt at home. People there knew what I
was talking about when I mentioned Joe Ely or Steve Earle or Robert
Earl Keen or Townes. It was truly amazing to find all these like-minded
people at open mics and such. And then there were the concerts:
Charlie Sexton, David Grissom, Steve Bruton, Bill Carter, so many
great memories. The first time I saw Townes van Zandt play was
a revelation. He performed these incredibly sad and moving songs,
still the atmosphere was so relaxed and the vibe so good because
he told all those funny stories and jokes between songs. That
was a real eye-opener for me, how you can be serious and entertaining
at the same time. The first time I felt like a real bonafide songwriter
was when Austin singer Brenda Freed came up to me and asked whether
she could cover my song "Can't Get Over You." To be
asked that from a fellow songwriter who lives in Austin and gets
to hear tons of great songs every week felt like an incredible
validation."
"Who do you consider the greatest American or Texan musician
and why?"
Markus:
"Oh gee... just one? It has to be Townes, Bob, Bruce, Steve,
Dave, Robert Earl, Joe, Butch, James, Woody ..."
"With which American/Texan musicians have you been working
so far?"
Markus:
"I have neither the budget nor the connections to hop over
to Austin and have Charlie Sexton or Lloyd Maines produce my record.
While I was in Austin I often embarrassed Karen Poston by asking
her to sing with me on a song or two. Even then I just knew that
her song "Lydia" (which Slaid Cleaves recorded later)
was truly amazing. I also played with Laura Nadeau, who sang backup
on Slaid's records. Over here, I've toured with the Shakin' Apostles
and have shared stage with Todd Thibaud, a very nice man and under-appreciated
songwriter, as well as Hazeldine, John Wesley Harding, Steve Wynn
and more. I also got to open for The Yayhoos, a great troupe of
characters including Dan Baird and Eric Ambel. As far as recording
goes, I really haven't had any opportunity to work with the big
guns."
"What was the most special experience with any of them?"
Markus:
"That was the time I opened for Townes van Zandt. I met him
backstage and introduced myself. I wanted to confirm the starting
time and length of my set and he went into a somewhat incoherent
monologue. The gist being "you know if you feel like continuing
to play, do follow the muse." Townes was very nice and also
very drunk or sick. I left his dressing room and immediately some
manager/hanger-on-type guy grabbed me by the arm saying, "Townes
isn't the one who runs this show. You do as you were told."
That night, Townes was in no shape to play. He botched his guitar
playing, forgot lyrics and almost fell off his chair once or twice.
Very sad. That was one of his very last shows, six weeks before
his death. I'm really glad I had the opportunity to shake his
hand and meet him, though. Also, it is a wonderful thing to happen
when someone whose work you respect and admire respects your work
in turn. The Hazeldine girls, Todd Thibaud, John Wesley Harding,
Eric Ambel, they didn't really care one way or another that I'm
German. They liked my stuff and invited me to join their tour
or asked me up on stage and just generally treated me as an equal.
It's funny, because in Germany you always have to overcome this
attitude of "What's your business as a German to be playing
American music?" I've never been treated that way by any
American."
Give me at least three good reasons why Americans should listen
to your music?"
Markus:
"I'd say they'll get to hear good songs. They'll get to enjoy
good musicianship and good music. What other reason is there to
listen to music anyway? Maybe my lyrics have a slightly different
slant because of where I'm from and who I am. I try to find things
to write about that maybe haven't been written about, at least
not that often. Or find new things to say or write from an out
of the ordinary perspective. I do believe it's a songwriter's
duty to every now and then tackle a difficult or even controversial
subject. One of the hardest songs for me to write was "Awful
Pretty," a song written from the perspective of a guy with
pedophile tendencies. I hope I've handled that topic well. But
I also write some lighter stuff. I've made a point of trying to
write songs delivering a certain hope or have kind of a "I
won't back down" attitude for the new album that we're just
in the midst of recording. So if you like your music handmade
and rootsy and you give lyrics more than a cursory glance, you
might like what I'm doing."
"Do you have any plans for touring the States in the near
future?"
Markus:
"I wish I did. Let's see what the new album will do."
"What do you consider the best four song lines you have ever
written?"
Markus:
"I can't say what my best lines are. But I can tell you one
that always makes me grin when I sing it."
There was a dark-haired girl in knee-high boots suckin' on a filter
cigarette
hearts and promises get broken by and for a girl like that
("Nowhere Begins")
And I like the imagery of this one.
Well, I need to clear my mind
I won't be coming home tonight
I'll keep driving on
And I'll make friends with the devil and the open road
("The Devil And The Open Road)"
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