Marykate O'Neil is a NY-based singer-songwriter who has just released her fourth solo record. Her brand of "literate pop songs" has caught on with fans and critics alike. We recently caught up with Marykate and she told us a little bit about herself and the making of "underground". For more on Marykate you can visit www.marykateoneil.com.
Thanks, Marykate!
How do you describe your style and approach to making music?
I always just start with the song. Depending on if I am writing by myself or writing with someone else the process can change. I usually write a little, record a little, write a little more, rinse, and repeat. I have never made an album all at once.
Growing up did you want to be a musician?
When I was in kindergarten or the first grade I wanted to be in the Monkees. I have no idea how I got this in my head b/c they were long gone before I was even born. But every year for Christmas I would ask for a guitar and I would get a fake plastic one. Then in about the fourth grade I got an acoustic one. I have been writing songs ever since I think.
Did you come from a musical family?
Kind of….but not in the traditional sense. Nobody really played instruments. I have a lot of memories of family sitting around singing. It seemed to happen at about every occasion for any reason. It may be an Irish family kind of thing. But it was really fun – even if I was the only sober one. I still tend to burst into song at parties I have, the difference is now I hand out all kinds of instruments to my friends, most of who all play something. I think it was also good in that I learned to appreciate all kinds of music.
How do you define good work?
I think good work is something that you want to hear over and over again. Something that doesn’t grow tired. I also think that something should be enjoyed at many levels – so that upon the 508th listen you’re like…hey I never noticed that cool little bit.
Are you still living in Boston?
No, right now I live in NYC. But I love Boston. It is really a special place. I recently just played a show at the Lizard Lounge and I have one coming up at TT’s. I love the community feeling that exists among the musicians there. Every time I play there I try to book the whole night so that I get to play with all my friends.
Do you have a favorite local place to play?
I like to play at the Lizard these days. I used to love to play at Green Street. I have a song on my record about that place. I used to love going there on Monday nights when they would have half price dinners and live music.
The album is called “underground” – why?
A couple of reasons first is the most obvious I guess --it is a title to a song on the record. Also I think it is because I have an obsession with underground movements in pop culture – beatniks, yoko ono, bohemians. Also, this is the fourth record I have released on my own where I have done all the recording myself and all the artwork myself with the help of a group of friends. It feels nice to have this little community of talented people who I get to work with.
Were you inspired by anything specific while you were making this record?
I think that the time I was making the record I was obsessed with this Todd Rungren record called “The Ballad of Todd Rungren”. I am sure that somehow crept its way into these songs.
What was the most challenging part of this project?
The most challenging part for me is always the same --- money. Making records is expensive. All the people who helped me make this record did so in the spirit of friendship. THANK YOU!
Where did you do the recording?
I started the record at Roger Moutenot’s studio in Nashville where we did most of the basic track with Roger, Ken and Jill. Then, I did more recording at home in Brooklyn with the help of my friend Jacob Lawson running protocols, engineering and co-producing. Then, I went to my friend Dave Shuman’s house in Connecticut where Ken and I did more recording. Dave’s ‘home studio’ is really better than most ‘real studio’s’. He has all kinds of vintage microphones and a Neve board. Then, I went to Stratosphere Sound in NYC where Ken and Jill and I added more overdubs. I brought the whole thing back to Nashville where Brad Jones mixed it and added in a few more overdubs. Then I mastered it at Sterling Sound with Ted Jensen.
Did the label have a vision of what they wanted this record to be?
It is a joint release with my own little collective/label and through Nettwerk Records. They have been really great and supportive of my past couple of records.
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