“When I watch films, I am constantly impressed with the power of the soundtrack. Block your ears during an emotional scene and you will understand that power - and that manipulation. Music affects us deeply and we often don't give that credit. When I travel, I see that it is music that draws a culture together (the Irish pub, the Argentine dance group, etc.) and shouts out their identity when away from home; songs at a soccer/rugby match, anthems, NZ advertising jingles sung in a British pub. It's fun, funny and binding. I hope that never dies out. Music creates a space, a reason, for people to feel they belong.”

Carol Bean: Deep Roots American Music

Carol Bean is a crossroads where four different styles merge together, then continue as one. She play mix of Americana Blues and Country with a heavy helping of original songs, stylish instruments, and groovy rhythms. She has entertained Wellington music-goers with her blues-based bands; Blue Highways, Mt Misery String Band, Clean Getaway, Carol Bean Ensemble, The Carol Bean Band, The Dirty River Band, as well as several of the wonderful ‘Lady Sings the Blues’ concerts and the infamous ‘Wild Women of Wellington Sing the Blues’. An English girl, she grew up in California and was influenced by the West Coast music of the 60s. She hung out at McCabe’s, The Ash Grove, took guitar lessons from Dave Cohen, Ry Cooder, and with Ry’s help bought herself an old 0021 Martin, which she has carted around the world and is still her go-to axe. With 3 albums out, she continues to write songs, play in duos, (with Nick Swan, Jack Mackenzie, and Robbie Duncan), and is a member of Wellington’s cheeky KVME Jug Band. Carol Bean lived in five countries before settling in New Zealand. At the age of 14, Carol got her first guitar. At 16 she was a student sitting with Ry Cooder at McCabe's Music Store. She spent the next year learning chops from Dave Cohen, an LA session musician at the legendary music venue the Ash Grove.                                               (Photo: Carol Bean)

At the Ash Grove she saw Lightnin Hopkins, John Lee Hooker, Mississippi John Hurt, Mance Lipscome, Sonny and Brownie, and of course Ry Cooder and Taj Mahal. Taj was teaching harmonica at the same time. Carol's first guitar, an old Martin 0021, was spotted by Ry in the window of Reno's Music on Pacific Coast Highway in Manhattan Beach. Carol's band BLUE HIGHWAYS played the Wellington blues circuit through 1998-2008. Her longtime musical interests in alt-country bluegrass and punkfolk created the Mt Misery Band. The KVme Jugband, est. 2013, perform their Memphis 1930s jazzy blues jugband music. Their two albums—Round Your Door and Stomp Around the Floor— represent the music they play including songs of Robert Johnson, Mississippi John Hurt, Leadbelly and other inspirational pioneers of blues and jugband music.

Interview by Michael Limnios                     Archive: Carol Bean, 2012 Interview 

How has the music influenced your views of the world and the journeys you’ve taken? 

I was raised in a household where Dad listened to classical music (and waved his conductor's baton) and Mother listened to Musicals and sang (loudly) in the kitchen. My brother bought a Bob Dylan LP and that was it for me. Music was a major part of my growing up; guitar lessons, more guitar lessons, and then lessons at The Ash Grove where Ry Cooder, Dave Cohen, and Taj Mahal taught us 'kids' how to fingerpick. Along with going there for lessons, I started to go to the Ash Grove and McCabe's for concerts: Lightnin Hopkins / Mance Lipscomb, Sonny & Brownie, Clarence White / Doc Watson (a big influence in my fingerstyle). Mississippi John Hurt had a magic touch and FEEL to die for. He influenced us kids in a big way. You'd think it was minimal playing but it was everything to do with rhythm and soul. You can't teach that. From there, I went to every good music concert that could be found between LA and San Francisco from 1964 to 1971 when I moved to New Zealand. My view of the world centres around music (a bit tunnel visioned I know) but music brings joy and not much else is doing that these days. I travel to see music, to play gigs, listen to what each country's soundtrack is and try to keep up with the changes. 

“Most important is - believe in yourself. Show up prepared and ready to open your world of songs, and skills, to whoever ends up standing in front of you. Be brave. As a female, I have to hit the ground running. There's no assumption that the audience will be with you, or even listening, unless you give them a great experience. I love being on stage and I send that feeling out to the room. I banter with my band. It's a party- it's the energy.” (Photo: Carol Bean)

How do you describe your sound and songbook? What's the balance in music between technique (skills) and soul/emotions?

I grew up in the time of the Vietnam War and the music that defined that era was a particularly powerful soundtrack - still is to this day. My own song writing is eclectic. As a singer, I tell of personal experiences. I tell stories and slip in messages of hope, or perseverance. Lately I've focused more on pre-war blues, old jug band blues of Leadbelly and new jug band blues of Maria Muldaur and Jim Kweskin-Geoff Muldaur is a big influence as well. My early playing focused on Travis picking and country blues fingerstyle. Then I moved to more of the John Fahey school of fingerstyle. I appreciate Leo Kottke, and adore Bert Jansch. Now, with my blues ensemble, I'm into that solid school of rhythm (Jimmy Reed, Little Walter, Muddy, and Elmore James, etc.) and getting the dance floor moving. With the Strat, I play hooks and rhythm. But there are always those Salt of the Earth festivals in NZ, where I play my Martin 0021 and fingerpick my way through days and nights of glorious jamming.

Soul and emotion? If you believe in what you are playing, and you are placing the song into the hearts of your audience and connecting with them, you will find that emotion pours forth. If you are delivering the song with perfect (and strained) technique, you may miss the emotion factor. But technique is vital to lifting the music above the dross. And technique requires 10,000 hours, baby.

Why do you think that the Blues/Roots music continues to generate such a devoted following in New Zealand?

Kiwis respond to authentic music. They love punk, heavy metal and grunge and they love the blues. Last night 55,000 people showed up to watch Metallica. All that stuff is blues-based. I'll bet those guys grew up playing Jimi Hendrix licks. 

“If you believe in what you are playing, and you are placing the song into the hearts of your audience and connecting with them, you will find that emotion pours forth. If you are delivering the song with perfect (and strained) technique, you may miss the emotion factor. But technique is vital to lifting the music above the dross. And technique requires 10,000 hours, baby.” (Photo: Carol Bean with Kelburn Viaduct Municipal Ensemble Jug Band)

What do you miss most nowadays from the music of the past? What are your hopes and fears for the future of music?

I don't miss anything. There are plenty of great musicians still performing, and plenty of incredible new, classy, musicians emerging. I could say AI is fearful. But AI is just a tool that takes the best, or most relevant feature of a topic, and amalgamates. So, for music, AI is sounding great and kids these days will accept it because it's quick and easy. No more 10,000 hours of learning. And that's a worry. Hands-on learning is a bit passe and that makes me think 'the future of music' is a sitting duck for mediocrity. 

What does to be a female artist in a Man’s World as James Brown says? What is the status of women in music?

Big question. Although I often say 'Yes' to playing in a Womens' Concert... I think like visual artists, and writers think...it doesn't matter what gender you are, it's the quality of the music that counts. Those all women concerts are a way of getting women to be seen, but it's also a discrimination of sorts. If there are 20 male acts and 2 female acts (and that's the way of it at the moment) I get in there and light up the stage as best I can and am happy to be a part of the bigger picture. I used to say, 'I'm waving the flag for women musicians', but I don't say that anymore. I just get up and do my thing regardless of any perceived stereotypes. Attitudes are slowly changing, and I say 'slowly' because some men, and most promoters, don't want to share their sandpit with women whom they basically think are inferior/ or distracting. Some blues women, guitar players, wear super sexy clothing and, even I, stare at their tits while they're bent over hitting those top level riffs. I also stare at Iggy Pop's bare chest and sinewy arms. We used to take bets on how long it would take for Jim Morrison to bare his chest (and other things). Doesn't much matter what anyone wears as long as they can take the music into a higher sphere.     

“My house is set up as a studio so I don't have to pack things away. Rehearsals with my several bands and combos are always here. I watch YouTube a lot. I love catching up on new stuff. Tiny Desk, Sawyer Sessions, etc, and music documentaries. I've been at some of those vintage concerts -- I don't remember seeing cameras there! I am one of the few musicians around who actually goes to see other musicians perform.” (Carol Bean / Photo by Clive Bunner)

What is the impact of music on the socio-cultural implications? How do you want the music to affect people?

When I watch films, I am constantly impressed with the power of the soundtrack. Block your ears during an emotional scene and you will understand that power - and that manipulation. Music affects us deeply and we often don't give that credit. When I travel, I see that it is music that draws a culture together (the Irish pub, the Argentine dance group, etc.) and shouts out their identity when away from home; songs at a soccer/rugby match, anthems, NZ advertising jingles sung in a British pub. It's fun, funny and binding. I hope that never dies out. Music creates a space, a reason, for people to feel they belong.

What are some of the most important lessons you have learned from your experience in the music paths?

Most important is - believe in yourself. Show up prepared and ready to open your world of songs, and skills, to whoever ends up standing in front of you. Be brave. As a female, I have to hit the ground running. There's no assumption that the audience will be with you, or even listening, unless you give them a great experience. I love being on stage and I send that feeling out to the room. I banter with my band. It's a party- it's the energy. 

Next lesson is, let the music seep into your being, let the songs make you cry, dance, clap, weep. Respond to the music that is being played/given to you. Kiwis take a long time to warm up to big acts that come through. It's as if they are mesmerised, like watching TV, then they snap out of it and get the idea that they have a responsibility as an audience. Theirs is to respond - to give back the love by being more vocal and appreciative.

“I don't miss anything. There are plenty of great musicians still performing, and plenty of incredible new, classy, musicians emerging. I could say AI is fearful. But AI is just a tool that takes the best, or most relevant feature of a topic, and amalgamates. So, for music, AI is sounding great and kids these days will accept it because it's quick and easy. No more 10,000 hours of learning. And that's a worry. Hands-on learning is a bit passe and that makes me think 'the future of music' is a sitting duck for mediocrity.” (Carol Bean / Photo by Michelle McRae)

What are you doing to keep your music relevant today, to develop it and present it to the new generation? 

I rehearse every day. I play a dobro now. I have a mandolin, a keyboard for composing, and recently have been gifted a banjo. Oh dear. My house is set up as a studio so I don't have to pack things away. Rehearsals with my several bands and combos are always here. I watch YouTube a lot. I love catching up on new stuff. Tiny Desk, Sawyer Sessions, etc, and music documentaries. I've been at some of those vintage concerts -- I don't remember seeing cameras there! I am one of the few musicians around who actually goes to see other musicians perform.

I especially like CD launches. And yes, CDs are still a thing. My step-son works in the music industry and says the same thing, "LPs are popular, Ma, but don't give up on the old CD". Of course, online purchasing is the main path to 'owning' music. I get about thirty-six cents a year for my songs from thousands of Spotify downloads. 

Let’s take a trip with a time machine, so where and why would you really want to go for a whole day?

Crazy, I know, but I'd like to go back to LA and sit in with Ry Cooder and his son Joacim and jam in their studio. Hallelujah!

Carol Bean Music - Home

(Photo: Carol Bean)