Lizanne Richards

Lizanne Richards

Melbourne-based singer songwriter Lizanne Richards - the voice and creative force behind acclaimed outfit Lady Grey - has stepped out from the shadows and into the spotlight with the release of her own debut self-titled album. The album draws on elements of jazz, blues and alt-folk, capturing the intensity of Lizanne's honest songwriting and stunning vocals. For a debut release, it is beautifully and exceptionally crafted. The production is flawless and the songs easily communicate on many levels. It is one of those albums that captivates you upon the first listen and continues to draw you in the more you hear it.

Stepping away from Lady Grey and pursuing a career under her own name was a daunting process. Lizanne admits the process of making the album has certainly helped her grow in confidence. She wanted to create music in her own right, under her own name – and decided if she was going to devote the blood, sweat and tears to create a full-length album, then she wanted the acknowledgment for that effort – and rightly so. She brought in producer Shane O'Mara (Paul Kelly, The Audreys, Tim Rogers, Christine Anu) to help and a swag of incredible musicians including Ralf Rehak (drums, percussion), Jorge Rodrigues (electric bass), Ray Pereira (percussion) and Bruce Haymes (keyboards).

It has taken a while for Lizanne to find a niche for herself. She's been playing music for years, starting off by playing violin in a Glasgow-based outfit Oldsolar. During her time with the band, they played a support slot for The Reindeer Section – a coming together of musicians from Snow Patrol, Arab Strap and others for a Christmas fundraiser. Upon returning to Melbourne, she teamed up with musician Andy Ross to create the jazz and blues-infused Lady Grey. She also sung as a guest vocalist on Tim Rogers' latest release Rogers Sings Rogerstein.

Drawing on these experiences, and her somewhat unique upbringing, it's no surprise Lizanne had more than enough fodder for inspiration for her album. She spent her early years living in Africa, growing up with missionary parents, seeing what life was like immersed in another culture.

'I think my exposure to a culture so different to my own during such formative years had an impact on my outlook," she says. 'I've always been very interested in my surrounds and how people are shaped by their surrounds. Vast landscapes appeal to me, as does exploration of what it is to be human. I like to think that I have a chameleon quality where I can navigate my way through a wide range of social settings of varied cultures and sub-cultures. Its of great interest to me to know who I am and where I fit into the world at large."

By this token, its not surprising that the styles of music that have inspired Lizanne the most over the years are of an organic nature, from the likes of Odetta, Melody Gardot, Gillian Welch and The Black Keys, to name a few. 'I love music that's original, but where you can hear hints of its roots," she says. 'I'm attracted to the grassroots nature of acoustic music that can be performed anywhere, anytime. I love the places a song can go in feel and texture, beginning from a skeleton of guitar and voice. I'm also coming to see that being a singer songwriter is a genre in itself."

This grassroots attraction flows throughout Lizanne's album, from the artwork depicting tree roots as veins running down Lizanne's naked back, to the organic nature of the songs. There is also an element of bravery that is an undercurrent throughout the whole album, a reflection on Lizanne's courage to step out on her own. Just before she began to pen the tracks for the album, Lizanne moved from metropolitan Melbourne to regional Victoria. Initially, she thought this would reflect negatively on her music, but instead found it gave her a chance to focus on what she wanted to achieve. She stopped working full-time to focus on the album, but juggled her calendar enough to both earn money to finance the album and still devote enough time creatively.

'It felt like such a risk at the time," she says. 'I knew giving up that day of work could basically fund the album over a year. But working full-time wasn't allowing me to find the time to devote to writing and work-shopping songs."

For a good half a year, Lizanne worked on tracks making sure she had a solid selection before heading into the recording studio. She devoted a couple of years to the project, making sure that everything was perfect before finalising the release. The result is certainly an album that Lizanne can be proud to put her name to.

For more information, please visit www.lizannerichards.com

Lizanne Tracklisting

1. Better Love [4:01]
2. It's What You Don't Know [3:56]
3. Stuck on You [4:02]
4. Racing Time [3:24]
5. Awkward Smile [2:56]
6. Good Man [4:19]

7. Not This Time [3:29]
8. Turn You On [5:05]
9. Yours Truly, Nancy S. [3:12]
10. Hands Up [4:53]
11. Of The Sea [3:21]
12. So Woman [3:46]
13. Buried Dream [3:24]

Better Love
I hope there'll be better love for you and me, down our roads, the kind of love that makes you know…

Better Love is my greatest achievement - an upbeat break up song laced with optimism. Although break ups are hard and awful, when enough time has passed, hopefully you can look back and see them in a new light - the relationship, the break up, that time in your life. Better Love draws on my experience of a break-up from a very long time ago. It explores a sentiment I could never have had at the time.

The original chorus I had for the song was weak, so I work shopped it and eventually came up with the existing chorus. I knew it worked as soon as I wrote it. The long-held notes in the chorus fall on lyrics with dominant vowel sounds, so it's perfect for singing. Lyrically, I originally had verse two at the start, but I was after something more optimistic to begin the song with. I think the song came to its own when Shane laid down the electric guitar part, which serves as a steady vamp throughout.

It's What You Don't Know
You only know what you know, there's always limits to what you know, but that's not how you see it, once you've made your mind that's all it could possibly be…

When I wrote this song I had someone in mind that was holding onto an idea that wasn't true. It was holding them back from experiencing a whole other side that they were resisting being open to. It's a song where I'm batting for the unknown, in the chance that it just might lead to a better place.

I wanted to try for a really simple chord structure and be a bit more daring with my vocal line, which I achieved in the chorus. The discordant vocal harmonies came in the moment of recording. I really enjoyed layering up the different vocal parts in this song. Shane must be credited for the awesome bass line that kicks in in the second verse. Shane, Ralf and I recorded some hand claps on this track which was a lot of fun.

Stuck on You
You took your permanent holiday, you changed lives forever, where did you cast your doubt that we were over? Did you even look over your shoulder?

In this song I explore the aftermath of a broken marriage from a bloke's perspective. It's loosely based on what happened to someone I know. I saw him reeling and working through the difficult terrain that it was for years after the event of his wife leaving him and his family. I dig deep in the chorus to ask the questions I would want to ask if my spouse of many years left me. I touch on the impact of the family break up on the children, and its everlasting consequences. Those relationships are forever changed and must find new ways of being. It's not to be taken lightly.

This is my favourite song on the album. It was the first song I wrote when I decided I'd have a crack at writing for an album. It was a beautiful summer's day and I sat outside on the grass with my guitar and came up with the first version. It was one of the first songs we recorded and I had quite a negative reaction to my first vocal take. I was worried about coming across with too much emotion. My intention was to simply tell the story, and not let my expression get in the way of that. When I did another take I consciously held back but it ended up being too flat. Shane eventually persuaded me that the first take was the best.
Racing Time
Push hard, back down, play the game to get an answer, jump off, crash land, find a wall then climb the ladder…

At the time of writing this I was working at a community school where the children had a lot of bush to run around in and explore. Observing their activity made me reflect on the young souls and minds of children and the way they have limitless energy to keep pushing boundaries. It's also why I like to have involvement with young people. I find their quest for finding things out inspirational. I wanted the feel of the song to reflect the young, explorative and flighty nature of children.

Rhythm was the key to this. I chose a time signature and tempo that makes the song move along and the instrumentation and vocals ended up playing around with the syncopation to make it unpredictable at times. I remember Shane standing on the other side of the kitchen bench, it was nearing the end of our pre-production day. I played this song and it immediately got the -go ahead'. Ralf started to play a rhythm along with the song, then Shane molded it into a rhythm which gave it a lilt that made the song dance.

Awkward Smile
Thanks for having the gall to call the whole thing off, cos' I didn't know myself to know my heart, but you gave me a new start…

I wanted to write a song which expressed gratitude to a past relationship. I can fairly say I was pretty confused at the time of the relationship, I think knowing yourself is fundamental to being able to give and receive love. I'm happy to acknowledge a dud relationship and be grateful for the purpose it served, even if that purpose was to simply eliminate another option. I was actually going through some old stuff and came across a photo of a past boyfriend with what seemed to me like an awkward smile.

Unusually for me, I wrote the lyrics then and there without having the music part done. Perhaps this is why I ended up trying out three different music vehicles before I settled on the existing one. The first one was upbeat country, the second version was darker with an awesome groove and was my favourite song to perform for a while. There's no good reason why I couldn't have stuck with that version, but I revisited it because I wanted to make absolutely sure I was taking my best to the studio. I'm happy with the result of the final version.

Good Man
Good man, you came to me like a dream, the others before weren't what they seemed, dressed in your leathers with your head held high, you asked for my number on that cool autumn night…

I wrote this song in the lead up to my wedding day to sing to my husband. I performed it as my speech. It's satisfying to have recorded this significantly positive event into a song. Entering marriage made me ponder the future and how it requires an enormous amount of optimism, faith and goodwill from both parties. I have utmost respect for the institution of marriage and for those that are willing to give it their best shot.

I wrote the opening stanza while staying at a tree farm owned by my then boyfriend (later to be husband). The original song as I sung it at the wedding, morphed into a country waltz. When I revisited the song for the album, I wanted to keep it closer to how it started so I work-shopped it until I came up with a bass line that grooved along with my vocal floating atop. The creation of the chorus bass line in the recording session was a shared inspired moment. I loved these creative production moments, especially when my contribution shaped the outcome.

Not This Time
You cross your T's and dot your I's, but this time to your surprise, you're no closer to the thing that you desire, everybody wants you to be a winner…

This song is about not getting your deepest desire. I was thinking about how it is that some people seem to strike it lucky in life when it doesn't appear they're doing any more or less than others, who don't strike it so lucky.

When writing the song I was thinking about this largely in relation to three things: relationships, having babies and music careers. Working hard at something doesn't guarantee success. Life is perplexing like that.

The verse melody came to me as I was trying to go to sleep one night. I got up and recorded it into my phone. I continued playing around with the tune until it developed into what it is now. The swing chorus came later, when I was staying at one of my husband's tree farms. I like how the chorus changes the whole feel of the song. I ended up recording my electric guitar part using one of Shane's pedals called the -Granny Puker'! It's a whole world of its own, the -pedal world'. The Granny Puker distorted and beefed up the sound with an octave down effect.
Turn You On
Same old story, you've got to love without, becoming the thing you love...

This song is written to my muse, Gillian Welch. She has been a huge inspiration to me over the years as a singer songwriter. I have been a devoted fan ever since a friend introduced me to her album Time (The Revelator) when I was living and working as a teacher in London. When I was writing new material for my debut album, I wanted to get closer to the heart of what I do and who I am in music. I understand this to be a journey with no destination. But it is my aim to dig deep to produce offerings that are a true reflection of me and my take on the world.

Given the intent of the song, it was important for me to stylistically own the song as much as was possible. I wanted to express my sentiment in a way that was true of my style, as opposed to me re-hashing 'her" (my muse) or anyone else's style. The original pace and feel of this song was quite upbeat and jazzy. I think it was during the pre-production that Shane suggested we try it at half the speed. It turned into a completely different song with so much glorious space. It allowed it to breathe. It also allowed Shane to play some beautiful guitar with tremolo and space tone throughout.

Yours Truly, Nancy S.
I fell in love with you before I had to share you with the world, now the world's all yours, to have and hold…

I was looking at some recordings of Nancy Sinatra and Lee Hazelwood and one thing led to another and I found myself on the Sinatra family website. It was here that I learned that Frank's first wife was also called Nancy (Nancy Senior). The more I read about Sinatra's rise to fame and how it took its toll on family life, the more I was inspired to write a song on Nancy Senior's behalf. The song is written from Nancy Snr. point of view and she is singing to Frank. At the time of marrying Frank, there's no way she could have known the level of accolade he would receive for his singing. It intrigues me as to whether she loved his singing and saw it in a positive light. I wrote a lot more lyrics than what ended up being used in the song, which is often the way.

The feel and style of the song suitably fits with the content and era that I am singing about. I didn't consciously set out to do this, it just happened. Putting forward a song that you think has suitable qualities helps get the conversation started about what direction to take the song in. Shane lay down the even keeled guitar riff which keeps the song plodding along. Shane ended up getting a great rockabilly sound happening with my vocals in the end.

Hands Up
I've tried to give you up so many times, I've lost count of our long goodbyes, you are to me, like a cigar smoke to a man who's quit…

Hands Up is a song that explores my love-hate relationship with being a musician. It's addictive because let's face it, anything you work really hard at, makes you feel alive. There's no one telling you what to do next or how to do it, which makes it really challenging. By the same token, when you pull something off, like a successful launch gig or a successful recording, it's extremely fulfilling. This may explain a little while I'm still chugging away at it. I feel it to be an enormous privilege to be able to pursue something that makes no financial sense. I don't think I'm owed a living. If I manage to make a living through my music, then all the better.

I created the bass line first, which is what I usually do. It has a seedy quality which is appropriate to the content of the song. My guitar part ended up with lots of reverb and tremolo. The song starts sparse and gradually builds throughout, ending with a drum solo which wasn't exactly planned. I still remember the moments when Shane and I were listening to Ralf's offerings, captivated and wondering how Ralf would finish. He had us on the edge of our seats.

Of The Sea
I was just a girl of twenty three, looking for something to do and see…

This song was written in response to a songwriter's circle initiative where the title Of the Sea was put forward, and the ten or so songwriters went away and wrote a song. It culminated in a performance at a house with a huge living room where we performed our extremely diverse songs to an enthusiastic audience. It's the oldest song that made it onto the album. It's very loosely based on a relative's experience of falling in love with a sailor, combined with my experience of being abroad as a young 20-something year old. It's a precarious time of life where you're out there in the world and up for testing the waters, which may be or not prove to be kind to you.

I wanted the song to have a feel reminiscent of a sea shanty. The song ended up driving along in the verses, and then stripping back to a more sparse vocal line and instrumentation in the chorus.

So Woman
I'm a woman with a soul duke buggy ass, the soul sisterhood knows where I'm at, I smile at the sun, the sun smiles back at me…

I was listening to the radio driving home from a Hen's weekend and happened upon a recording of a themed concert at the Port Fairy Folk Festival. It featured a selection of woman performers. In So Woman, I have fun exploring the territory of what it is to be so woman in Melbourne. I'm singing about a very particular type of woman of which I'm very familiar, it takes one to know one.

It nearly didn't make it onto the album. Shane warned me that I could be opening myself up to being misinterpreted, perhaps by a woman. But it snuck in because in the early stages of me deciding to record the album, it was the song that made my sister excited, then Rebecca Barnard (songwriting mentor) and ultimately it made me excited. I was writing about a topic that I had something to say about. Once I'd worked out the angle of how to explore it, it was a lot of fun. I love performing this song.

When we were recording my acoustic guitar for the rhythm guitar part, Shane encouraged me not to attack the strings so much, which is a playing style I have developed. It's also the result of having taught myself to play guitar. I was happy to get a few playing tips from Shane, who is an extraordinary guitarist. We even tried the opening part being played by Shane, but in the end I think we went with my playing because it just sounded right for the song. The song begins sparse and gradually builds to about as -rock' as I get.

Buried Dream
We're diggin' workin' diggin' through the night, we're diggin' hopin' our ideas take flight…

I wrote this song when I was thinking about us artist types who choose to face up to the muse and deal with it as opposed to ignore it and keep it buried. Having experienced both, I don't necessarily think that the choice of one path is easier than the other. There is fulfillment that comes from finally facing up to it and I think it's far better for ideas to get hung out to dry than to fester as unrealised fantasies. It's given me a way to learn shit about the way the real world works. You want to make music? Fine. Make it. You want people to care? That would be nice.

The vocal fill that is throughout the song was a source of laughs. Shane was like, 'What are you singing?" Like a lot of the melodies I come up with, the tune takes priority and the vowel and consonant sounds just somehow come about. So sometimes they are quite indecipherable. Shane's guitar lead licks were a matter of trialing a few and picking the ones that worked. Throughout the recording of this song, I would spontaneously wave and smile, as if being in the end credits for my own film. It really has that feel about it, a -happy ending' song.

 

Interview with Lizanne Richards

Question: How would you describe your album? My album consists of thirteen r -n' b alt-folk songs that explore my life experience and the world around me. For some songs, I step into the shoes of other's lives and imagine what it's like to be in their paddock.


Question: How did it feel to hear your song played all over the airwaves? If it was indeed played all over the airwaves, then that's marvellous and I hope it connected with people.


Question: What was the main motivation behind your debut album? It's been a long-held dream. I've been working at being a singer-songwriter since 2006, so I wanted to make as professional quality a product that I could. It was my aim to make my debut album with a producer of the highest calibre I could attract. And it was also my aim to get some assistance with getting the album out into the world. Vitamin Records offered me a distribution deal. Other than all the above, I wanted to make an album with songs that I believed in, to the extent that I was willing to back myself both financially and emotionally.


Question: What inspired you to pursuing a solo career?

Lizanne Richards: I was the singer/songwriter and driving force behind Lady Grey, doing all the same things that I've always done and will probably continue to do, only now I'm opting to use my name. So I guess using my name appears to be more of a solo career than before. My decision to use the opportunity of starting fresh and using my name for the debut album came about slowly but surely. It feels right for me now.


Question: Do you write your own songs? What's your inspiration?

Lizanne Richards: Yes, I write my own songs. My inspirations come from feelings, stories, movies, experiences, memories and imaginings. My imagination is the key ingredient. The more I delve into it, the more there is to explore, provided I'm stimulating it with reading matter, conversation and life.


Question: What music/artists do you listen to when you are not playing your own?

Lizanne Richards: At the moment, Rodriguez, Lilium and Blonde Redhead.


Question: Was there a moment you contemplated throwing in the towel?

Lizanne Richards: I took a break after completing and releasing my second EP as Lady Grey. I couldn't see a way forward that I felt happy continuing with. I also moved from Melbourne to the Macedon Ranges, so I felt further away from the action. In turn, this contributed to circumstances that got me back on track again. It's tricky working out how to balance the books when the thing you want to pursue requires some serious funding. I guess I re-jigged my expectations, reached some compromises, and found a way forward to work towards my long-held goal.


Question: Do you prefer performing live or recording?

Lizanne Richards: Recording. It's a performance that has a lot hanging on it. The stakes are high, and this usually makes for a good performance. Standing in front of that microphone is full of so much possibility. You're making a record of what you do, a record that may or may not stand the test of time. And that's exciting to me.


Question: What/who was your inspiration to go into the music industry?

Lizanne Richards: My first big one was Catpower, aka Chan Marshall. As a young woman, her Covers Record was ground-breaking for me. Her minimalism, subtlety and restraint left me wanting more. She was the coolest thing I'd ever come across. She made me want to be a singer/songwriter.


Question: What is the biggest challenge you have faced along the way to your musical success?

Lizanne Richards: Finding a place where I'm happy to do it all for me. Because at the end of the day, that's all you can do.


Question: What's a typical day like?

Lizanne Richards: It depends on what phase of the cycle I'm in. It can consist of any of the following, writing or workshopping a song, rehearsing, recording, or performing a gig. Then there's the administration aspect of arranging gigs which requires a lot of email time with venues and band members, organising posters, and publicising the event on social media. Then with the recording of an album, a typical day is spent at the studio, grabbing a bite to eat and having beers at the end of the session, all going well. So it's a pretty varied pursuit overall.


Question: What has been your favourite part of becoming a music artist?

Lizanne Richards: My favourite part so far has been the recording days of my debut album. I had worked hard on the songs and I was filled with an immense joy throughout the process. I thoroughly enjoyed the company of my producer, Shane O'Mara.


Question: If you could collaborate with another artist, who would it be?

Lizanne Richards: Dan Auerbach of The Black Keys. I love his work and I'd love to see what we could come up with together.


Question: Can you tell us 5 things required for a happy healthy & enjoyable life?

Lizanne Richards: A good mechanic
A good doctor who's about your age
A good fella or wooza who loves you and keeps you real
A hobby that engages you
An ability to not take yourself too seriously


Question: What message would you like your music to say to your fans?

Lizanne Richards: Take it easy, if you can.