Goddess of Rock - LIZ LARIN
Jam Rag - by Karen Mouradijian
January 2nd, 2004Last April, Liz Larin practically swept the Detroit Music awards in the ten categories for which she was nominated. She won six (Sista Otis won three of the others).
Detroit knows who’s real, and who’s fake and insincere in their demeanor. As for Liz, she’s as real as it gets, and you can’t miss the warmth and compassion that radiates from her soul. It’s evident in her answers within this interview.
It’s such a blessing to work with the best musicians Detroit has to offer; not only will these high-caliber musicians blow your mind with their technique and craftsmanship, they retain their humbleness even will all their success.
Things are changing in the music industry, and people are tired of the pretentiousness of “musicians.” Real musicians are sincere, and engage in conversation with their audience.
In a recent gig at Renaissance Unity Church in Warren, Liz announced halfway through her show that they would like to take a break for refreshments and to meet the audience. This is a sign of a musician with a gentle, loving soul - she could’ve just said they were going to take a break like any other musician or band.
But then again, Liz is not any other musician, not is her band any other band. In fact, her band is one of the hardest working, and they’re reminiscent of music addicts and workaholics.
For starters, Liz’s sweetheart and guitarist, Robert Tye, is an accomplished jazz guitarist who also won three Detroit Music Awards this year. Tye also works with other jazz musicians, and recently performed with Larry Nazero at the last Montreaux Jazz Festival.
Jim Simonson plays with the Brothers Groove and also played on her CD, THE STORY OF O-MIZ.
As for bassist John Dunn, he’s busy with side gigs. Drummer Dave Taylor confided he works with multiple bands (ten, if I remember correctly) and recently performed with classical tenor, Luciano Pavorotti and The Three Tenors.
Even though Larin released THE STORY OF O-MIZ earlier this year, she is already busy working on another CD. One of the new songs she incorporates into her gigs is “Still,” which she to as having feelings for someone who may not have the same feelings yet.
Although she was signed to Atlantic Records and left California to move back to Detroit, she has no regrets - if anything, she has found more success and prosperity with the relocation. At the rate Larin is going, it won’t be long before she embarks on a national/international tour with large, sold-out venues.
I’ve bestowed her with the title of “Goddess of Rock” because she is just that. While other women often limit themselves to acoustic guitars, Larin exemplifies her taste and grace with her Fender Strat. She’s a success story because she knows that being a success is not just about being a “great musician,” but showing dignity and grace to the audiences she embraces.
Larin is a role model for other musicians to follow if they truly want to enjoy the successes she has been blessed with. The music business is a lonely world - with all of it’s fame and fortune, it will leave you cold and miserable if you look for success and happiness outside of yourself. Fans pick up on it, and CD and ticket sales begin to dwindle.
However, Larin has found her purpose in life, along with the happiness inside of herself and uses her music to help others heal. That’s what music is about - not about fame and fortune and an ego gone wild, but loving what you do, helping others heal and not harming anyone along the way. This is why Larin is the success she is. Watch closely as she becomes a household name.
Q) Prior to moving to California, what were you doing musically in Detroit?
A) I traveled a lot, playing music anywhere I could. Then when I came back to Detroit, I initiated a duo project with Michael King called Press. We not only performed together, but got together about five times a week and wrote tons of music. We were getting a lot of positive attention. Then around the time we signed with Atlantic Records, we added Danny Cox on drums. It was a very musical project.
Q) When did you sign with Atlantic and how did they go about promoting you?
A) We didn’t know at the time that we signed that Atlantic Records had a reputation for just throwing music out there and seeing if it stuck. But we did manage to get the music out in Europe and Australia, where we got a lot of attention and the beginning of a loyal following.
Q) Why did you decide to walk away from a deal with Atlantic to come back to Detroit and where do you plan to go from here?
A) The more I learned about the music business the more I realized that I was in the wrong place. Treating music and musicians like product was rubbing me the wrong way. When I decided to put the music, family and friends first, that’s when a lot of the bad things seemed to just fall away. I could see clearly for the first time in many years and I knew the next step was to come home and to let the music guide me, like it always has.
Q) There seems to be a combination of hearing hints of Etheridge, Raitt, and even a more sophisticated Morrisette in your vocals. How much of an influence would you credit these women and whom else do you consider to have shaped your style?
A) I credit the above named women for breaking down doors. I know there are many sides to us. I like to express things that are lurking in the corners of our hearts and minds.
Q) “Better, better” almost reminds me of early Lucinda Williams with the simplicity of the vocals and it’s one of the “lighter” tunes on this CD. So what’s it like to have someone in your life that just lets you be who you are instead of trying to change or fix you when you state, “And you see to the bottom of my soul as I’m losing all control and all this time it’s getting better”?
A) One of my favorite sayings is “forget who you are to become all you can be”. I work on forgetting. I wrote “Better, Better” to be a simple childlike melody, full of hope and innocence.
Q) “The Hunger” is packed with emotional intensity through the musical composition and the lyrics and vocals voice the frustration of the non-stop chaotic head games inflicted from a dysfunctional person. How long did it take to get away from this insanity?
A) I’ll probably always be working to get away from that type of insanity.... yet I am strangely intrigued by how our minds and emotions work, how we battle and rage inside.
Q) What made you decide to write Love On Through when so many people would walk
away and not care about someone else’s problems or feel like listening to them?
A) I found myself challenging myself to listen, to stay open, even when what I was hearing was profoundly painful and upsetting. We all go through things and we can help each other heal. In getting things out in the open, we can sometimes see that we are not alone in our fears, that we have a lot in common and we can help each other to grow stronger.
Q) Bliss almost sounds like a karmic relationship with the line, “Once upon a time you will remember that it was me and I have held your heart forever.” How did you know that it would be safe to bare your soul and not be rejected/abandoned that he wouldn’t retreat through the back door?
A) That’s a good question. I didn’t know, I just knew that I had to say what was on my mind, then let what ever was going to happen, happen.
Q) “Real” sounds like the painful end of a relationship long overdue in ending and losing yourself in it. Who is the company you’re keeping in reference to, “We tell each other we’ll be going home soon. Don’t tell them that they walk somewhere between the living and the dead?”
A) All the ghosts that were around me. We were keeping each other company. It’s tough to break away from the past because you can get so comfortable and your ghosts don’t want anything to change.
Q) You credit Robert Tye as “My love”, how did you meet and what was it like collaborating on “Surprise” and “Bliss” because it seems like the lyrics are about him? What are the pros and cons of working with someone you’ve invested into emotionally?
A) It’s much easier to be with someone who is striving for some of the same things you are striving for, as abstract as these things are. We have a great working relationship because on some level we are always working, always striving.
Q) “Mary’s Garden” is pretty wild, it sounds like you just sent out a message to someone who treated you with disrespect to be on the look out for “what goes around, comes around!” How long did it take to build yourself up after, “I would give you everything, but there’s nothing left to take?”
A) Yeah, I don’t think we can really get away with things, at least, I know I can’t. Good or bad, we are creating our reality with our minds and your hearts. As you know, if your mind and heart are not clear, life can be quite murky.
Q) The more I listen to your CD and read the lyrics, The Story Of O-Miz is like hours and hours of therapy put to music and superbly done! How long did it take to complete this CD?
A) I wrote the music over a year as I tried the songs out in the clubs. It was great to watch how people were responding to the music, it gave me a lot of clues on how to proceed. When I had well over two CD’s worth of music, we went into the studio and I let the songs tell me which ones were ready to come together. I had worked with the best musicians I could find then brought them into the studio to do what it is they do well.
Q) How did you pick Vinnie Dombroski for back up vocals on “Pretty Is” and “Love on through?’ and Todd Glass for drums. Was Glass still playing with Gary Jibilian at the time while working with you?
A) Vinnie has been a great friend and sounding board, he’s really been there for me. I trust his musical sensibilities and how he puts the music first. Todd Glass and I had worked together live and I liked his interpretation of the music and his energy.
Q) I know WDET has been generous in supporting your music, but you also mention DJ’s Kelly Brown (89X), Jim Harper (Magic 105), and Carrie Carlson (former Sat/Sun. morning over easy; WCSX and Alice’s Restaurant on now defunct FM station Alice). What songs of yours did they play on the above-mentioned stations?
A) I have been fortunate in having people in my life who love music like I do. There are some wonderful people who happen to work in radio who are as crazy about music and art as I am. I always feel very lucky when I am in the same room with these people. When a radio personality takes the times to listen to the music, then gives it airtime, I look forward to the time I can return the gesture.
Q) What other work did you do with Barbara Payton aside from being on her CD and playing the benefit for Jethro’s Place last summer at Como’s?
A) I am very supportive of Barbara Payton and her music. She stands for some pretty powerful things, I just do what I can to help.
Q) I first met you and Robert last summer in Midland when I played with Justina for the Mammon Run benefit in Midland for children exposed to domestic violence. How were you selected to be in the line-up of bands?
A) I wrote a song called “Say It” which seems to have become a special song for those who are keeping secrets and trying to break down ignorance and patterns of abuse. I was honored to be asked to participate.
Q) You were nominated in 10 categories in the Detroit Music Awards and won six, Robert won three. Aside from telling you - Way to go! Congratulations! - just what do the two of you have to say for yourself?
A) I don’t know how Robert feels about it, we haven’t really talked about it. It kind of threw me for a few days. Because I have had my head down and have been working I didn’t see it coming. Then I realized that all I can say is ‘thank you, I hope to make you proud.’
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