Interview with Daniel Lanois
Silence, nighttime and the mysteries of the South is what drives Daniel Lanois – guitarist, pedal steel artist and producer. His latest album, ‘‘Belladonna’’ is
a travel log from Mexico, where Miles Davis got to join in on the nightly studio
By Nikki O’Neill, initially published in FUZZ Magazine, Sweden, in May
English translation: Nikki O’Neill
coming to Sweden by the end of April to play in Gothenburg, Malmo, Uppsala
and Stockholm. Who’s
joining you and what material will you be focusing on? -
Steven Nistor from Detroit will be playing drums. It’s
hard to find great drummers, but he’s
one of them. I also have two very good singers joining me: Jim Wilson and Marcus
Blake, who plays bass as well. We’ll be playing
a cross-cut selection of my musical career so far. We’ll
do a hyper-active version of ‘‘Frozen’’ (dub-track
off of ‘‘Belladonna’’) and a brand new piece
since that’s where Marcus and Jim are from. It’s highly
energetic. I’ve always wanted to write a piece that could speak
to the larger concert and festival audience… that has the energy
to travel on that great distance. I think I’ve
finally managed to write that kind of piece.
- Music adjusts itself to its place, as we do to people in a social
setting. It starts with a toast, then it evolves to an embracement.
Playing live, you start to hear the music through their ears. It’s
almost like making love. But you have to stay connected to yourself
also. You have to be selfish! Then they’ll
have a good time.
- Tomorrow we’re playing an outdoor show in Ottawa, Canada.
In the snow. People skate to work on the canal there, and we’ll
play for 5,000 people on the canal. They promised we’d
get a heater.
What made you
pick up the pedal steel? - As a kid in Canada, I grew up
with door-to-door salespeople. They were not considered as a nuisance then – they
sold linens or something, and you’d invite them in, and ask
if they maybe sold pots and pans… I
miss that era. It’s Internet shopping now. So one of these salespeople
asked if your kids wanted to take music lessons. My mother said: ‘‘Well,
Danny here, he likes music’’, and he’d check if you were
musical and test you. And he found me to be musical. Accordion or steel guitar – those
were his two choices. And I thought: ‘‘well, I’ll pick steel
it stayed with me ever since.
- My first one was an acoustic lap steel – pretty much like an acoustic
guitar with extra high action. I’ve
played the instrument ever since.
You have a very
personal approach to the pedal steel. It goes beyond the usual country or Hawaiian
references that show up when other musicians play it. - I played in lots of
country bands as a kid. I admire the tradition a lot. But I regard
myself as an innovator. I start out in the tradition that I respect
a lot, but then I use my own tunings and magnify the details that
of ’’Belladonna’’ took shape
when you lived in Mexico for a year and set up a temporary studio in Baja,
where you invited musicians like Brian Blade (drums) and Darryl Johnson (vocals).
What drew you to Mexico and how was your experience being there? -
As a kid, I was always fascinated with the South… the
South always holds a lot of secrets and mystery. The more down South you are,
the more mystical and psychedelic it gets. I’ve flirted with New Orleans,
I hung out with The Neville Brothers, heard the funk and the horns… But
I’ve always liked the sound of Mexican records – the ones on jukeboxes
especially. They have the best bass. I’m
talking older Mexican records now.
- I’m also drawn to Mexican writers, like Gabriel Garcia Marquez and
their out-of-body perspective. I wanted not to copy their music, but to be
rubbing up against the people that were thinking that way. They use their imagination,
since they don’t have much in terms of material possessions. They live
a simple existence, but have incredible imagination. And that’s
a beautiful space.
sounds like a traveler’s
tale from Mexico. In your interpretation, it sounds like a mariachi band meeting
Portishead - moody and cinematic. - Music is about creating
an emotion. ’’Agave’’ is
a nighttime waltz. Nighttime air is very thick – all these sounds like
grasshoppers and crickets come out that you don’t hear otherwise. There’s
also a very exotic chord sequence in ’’Agave’. It’s
the same way Miles Davis would visit the nighttime, but his music was in a
very urban setting. But on this album, I invited Miles Davis to visit this
nighttime world with me. ’’Agave’’ is very symphonic – one
of the most symphonic works I’ve done. I don’t
usually preconceive orchestral ideas, but I know orchestra experience when
I hear it.
Your music is
often full of layered tracks with guitars and pedal steel. You hear a lot of
melodies in it, but it’s also rich with harmonies. What usually comes
first when you’re writing – melody
or harmony? - The melodies comes first, usually. I have a whole archive
of recorded melody bits, that I check frequently. Harmony mostly comes second
you with the classic ambient albums you created with Brian Eno in the 80’s,
like ‘‘Apollo: Atmospheres and
Soundtracks’’. ‘‘Belladonna’’ is also instrumental,
but darker. You’ve called “Two Worlds” a comment on the world
today. It’s a pretty dark description, with brutally distorted guitars
and dissonant noise… and
then suddenly this lyrical pedal steel appears in the midst of it all. -
actually two recordings. The more dangerous recording stood by itself, and
was done longer ago. The steel guitar was put in later, and it added more complexity
to the piece’s personality. I was inspired
by artists like Jan Saudek, who took the picture of my album “For The
Beauty of Winona” (from -93). There’s
the complexity of a beautiful woman holding a knife. It represents the duality
of human beings. And that is always a part of all my work.
played with many great musicians, but Brian Blade seems to have a special place
with you. He’s played drums on several of your earlier works, like Bob
Dylan’s “Time Out of Mind” and “Wrecking Ball” by
Emmylou Harris. His feel for tone and texture is unusual among drummers, and
he sounds like such a perfect match for your music. - I’ve known Brian
for 15 years and he’s like a
brother. We always work best when we haven’t played together in a while.
Then we share our new knowledge together. But he has many layers to his personality
and a darkness to him that you don’t meet the first time, because he
seems very sweet. But take away the first layer, and you have a Black Panther.
You go the next layer, and there’s the Baptist preacher. Go to the next
layer and there’s
Muhammad Ali, at the next layer you find James Brown, then the anger of Elvin
Jones and finally you come down to slavery. And Brian is driven by all these
layers. I have them too, but my path is different.
When we write
music, we connect to emotions as you said. How do you re-connect to a song
that you play live long after it’s written and
the emotion has changed? - Emotion comes back in unexpected
like re-entering a dream. It is an obligation as an artist to get to that state,
or what some like to call ‘‘the zone’’. Live, I often
do long instrumental improvisation sections in the vocal songs – this
way, you shed all the preconceptions, a little like an exorcism. You get to
the truth and the real emotions that are there. Everyday life commands us to
But we don’t
like that in art!
your prime time to create during the day? - When I have
my alone time, which I try to have a few hours a day (this interview was done
7.30 am, Pacific Time – Nikki’s
comment). Like a few nights ago, when I was in a city in Canada, and up at
four in the morning. I like the souls that I see at that time of night. I walked
past a McDonalds, and even got a hot chocolate. There were four people in there… some
had been up all night, some were sleeping. They were interesting people all
of them. I got back out on the street, and in that part of downtown, they play
choral music through the city speaker systems. It was amazing to hear the most
beautiful music – I think it was Mozart – being
played in the saddest place, and heard by nobody but me.
your main guitar set-up? - I have a 1953 Les Paul Gold Top.
I love Neil Young’s
and his tech modified the guitar for me by putting on a Bigsby tremolo arm,
and a Tune-O-Matic bridge to keep it in tune. The P-90 pickups are the original
ones, but my back pickup is as loud as my front one, which is unusual for a
Gold Top. So I’m very happy with my sound.
- I play a Vox AC-30 amp, and I’ve had this particular one since the
80’s. The Edge (U2) turned me onto it. In the studio, my favorite pre-amp
is a Neve 1066. When it comes to guitar amp mikes, I use a Sennheiser 490 and
just dangle it over the amp. I’m still searching for optimal vocal mikes.
I’ve been using a Sony C37A and regular Shure Beta 58… I used
the Sony one on Dylan’s album a lot, and on Emmylou Harris’s. I
have a loud voice, so I need to sing up close to the mike.
also well known as a producer, with previous works like U2’s ’’The
Unforgettable Fire’’ (co-produced with Brian Eno) and the mentioned
albums with Dylan and Harris. How do you view production and your role with
the artist working with you? - I allow the artist to live
through my personality (this subject suddenly makes his voice very involved
and forceful). I operate with a fully modified studio – it’s NEVER neutral. Every single
gadget is handpicked for the project. I talk to the artist about their passion,
aspirations, sonics they hope to achieve… I don’t take it very
VERY dedicated. I am a heavy hitter, like Muhammad Ali. And I don’t
want to get hit back! If you want hear an arrogant man, here I am!! (laughs)
ONLINEROCK: You can call yourself that if you like, but it’s not exactly
the impression I get from you..!
- No, but let’s put it this way: it’s a very serious arena for
me. I only enter it when I’m
Are you producing
anyone right now, or do you have an artist you’d
like to produce? - No. I’m busy with my own music
Where do you
live? I live in Toronto, but my main home based is in Jamaica.
I try to go there as often as I can. I also live in Los Angeles, in Silverlake.
I have a studio there with one acre of land, where I’ve planted 45 fruit
trees. We have become too separated from our foods. I also don’t use
motorized equipment. Everybody does yoga now, but creates too much noise on
their home base. They’ll say: ‘‘I’m going to yoga now’’,
but then they call their gardeners and lawn movers and create all this racket.
We need to develop a quieter life philosophy.
But you know how
people get freaked out by silence... they encounter their thoughts
and feelings and emptiness... - Haha! Yes...
Do you still get around by motorcycle instead of a car? -
I don’t have
a car. I have a motorcycle in LA and in Toronto.
When you played
at Carnegie Hall during the New York Guitar Festival, you showed projections
of your short film “Silvio’’ during
your concert. Will we see it in Sweden too? - I’ll try to bring it, but
not in the financial position that I can hire a lot of employees to bring on
the road. But images are a part of me...an extension of my sonic philosophy.
We actually put out surveillance cameras everywhere – even on my steel
guitar, so you saw these giant hands projected on the screen. We also add colors
that are driven by the music – kind
of like the old light organs, but the technology is far more advanced and space-age
Daniel Lanois Gear:
Guitar: 1953 Les Paul Gold Top (modified with a Bigsby tremolo and
Amp: Vox AC-30 (bought in the 80’s)
Main guitar amp mike: Sennheiser 490
Vocal mikes: Sony C37A, Shure Beta 58
Pre-amp: Neve 1066
Stereo compressors: Neve 8068, Neve Melbourne
Nikki O’Neill is a singer, songwriter and guitarist in Los Angeles. She’s taught “Women’s Contemporary Rock Guitar’’ at The New School in New York – the only university-level guitar class in the U.S. focusing on female rock and blues players. She’s been guest teaching at a rock college in Sweden for women only, and interviews guitarists like Warren Haynes, Nels Cline (Wilco) for Swedish guitar magazine FUZZ. She’s endorsed by G&L
Guitars and Daisy Rock Guitars.
Her websites: www.myspace.com/nikkioneillmusic and