“Keep Yourself Within Yourself”: An Interview with Inara George

Inara George

Inara George is not new to the music scene. She
has been a member of the Los Angeles-based groups Merrick and Lode;
she has contributed vocals to the newest Idlewild album; she is
the daughter of Lowell George (singer of the famed ‘70s rock
group Little Feat) and she also seems to be close enough with Jackson
Browne for him to add some backing vocals to her first album. But
I don’t want to suggest that George is merely the product
of her childhood surroundings. Her familiarity with music is revealed
mostly through her strength as a songwriter and her subtle use of
an obviously tremendous vocal talent. The entire environment of
her youth was merely a starting point, aiming her toward the creation
of an album as light and effortless as All Rise.

All Rise is familiar because the melodies are neatly made-beds
waiting to accept naps. They are comforting and soft and sung with
the perfect amount of levity to counterbalance how sincere the lyrics
can sometimes be. The melodies are somehow new and old. They are
also the most striking aspect about this album because they seem
to accomplish exactly what they were meant to do.

Ross Simonini: After listening to your record,
I come away with a lot of melodies in my head. This isn’t
to say that you use clichés or hooks, but that you have some
way of making melodies addictive without pushing them too far in
the pop terrain. Have you spent a lot of time cultivating your sense
of melody? Or are melodies more intuitive for you, while other aspects
of songwriting (lyrics, arrangements, etc.) require more of your
attention? Any particular melodic influences?

Inara George: That’s interesting. I’ve
never really put any thought into that. I suppose it depends upon
each song. The words are definitely the hardest part for me, and
I think the melody sort of just springs up. As for influences, I
look to other songs to help with lyrics and tempo more than melody.
But I also look to poems and books, whatever I’m into at the
time. It’s a little funny to talk about, because it’s
certainly not brain surgery, but it’s definitely something
that takes some effort. And the best thing about songwriting is
that everyone does it differently. There’s no right way to
do it, whereas brain surgery probably has a lot more rules. Or at
least let’s hope so.

RS: Which poets or poems in particular have influenced you?

IG: I always hate being specific about my influences because I
love so many artists that it’s hard to choose. And I’m
not sure if they influenced me or not. But I will give you some
examples of people I love. Ana Castillo, Bukowski, Neruda, Sylvia
Plath. I love old Japanese poems. Bryony Atkinson (my old bandmate)
is a really impressive poet. I also love playwrights like Shakespeare,
Tennessee Williams, Arthur Miller, Bertolt Brecht, Edward Albee,
Moliere, Anton Chekhov. Plays have to be just as musical as songs

RS: Which books or authors? Any schools of writing you like more
or less?

IG: I don’t think I stick to one school of writing. I just
like what I like. Some of my favorite books: “One Hundred
Years of Solitude,” “To Kill a Mockingbird,” all
of J.D. Salinger’s stuff, “Please Kill Me.” I
love Paul Bowles. Victoria Holt writes really good “old fashioned”
romance novels, although once you’ve read one you’ve
read them all. I love non-fiction and biographies. I could go on
all day.

RS: Generally, I would say that books and poems are at opposite
ends of the spectrum in terms of what words can do. Fiction is primarily
more narrative while poetry is generally more abstract. I would
say that songwriting has a similar division. Some artists like Leonard
Cohen or Joni Mitchell often lean more toward storytelling or narratives
and others (most) lean further towards abstract lyrics, lyrics that
try to elaborate on emotional responses. Do you have any preference
between these two types of songwriting?

IG: I think a good song is a good song no matter how it’s
done. I just do what I do and hope that it turns out all right.
I try not to over think anything or else I get too into my head,
and that doesn’t do me any good when I’m trying to be

RS: Are there any lesser-known artists you would like to bring
to the attention of music fans? Any new albums you have found inspiring
in the last year?

IG: I have to admit that I don’t have any one record that
I have clung to this year. Not because there isn’t any good
music; more out of laziness. I suppose I listen to my friends’
music. Mike Andrews is making a record, I love that. There is this
band Mt Egypt, which is really just a guy named Travis. He made
a record that isn’t out yet, that I really have been enjoying.

RS: After seeing you live, I wonder what sort of approach you have
taken to your concerts. Is there much “live” adaptation?
Do you just try and replicate the CD for your concerts or do you
view the concert as a separate medium?

IG: I think that we try to use the CD as a foundation and then
try to make each show fresh. We all have a hard time playing the
same thing every time, although I think it’s good to revisit
the CD every now and again, so we don’t forget where we started.

Lyrically, All Rise
seems to be consistent in its use of heartbreak and the more traditional
love-song format. There are all the loves—lost love, unrequited
love, new love—and at times it almost borders on feeling too
sentimental and particularly too submissive. However, there are
also times when the lyrics seem to come from someone cold and hardened,
someone ashamed of their sentimentality. George sometimes embodies
the anachronistic eye-batting female and sometimes, she spits on

RS: Can you comment on this lyric and how it fits into the song
“The trick is to never look into their eyes.”

inara george 2IG:
I suppose the trick to having a mistress is to never get too invested
. . .

RS: I hear a sense of irony coming in and out of the albums lyrics.
Would you say much of your music aims for irony? Or do you generally
want your music to be less light-hearted and more sincere?

IG: I would hope that I could explore all of it. I don’t
think I try to avoid any kind of song.

RS: What would you say the predominant subject matter is of your
songs? Love? Trust?

IG: I don’t know, really. I think people might see it as
love. But I’d say it’s just life. Whatever is happening
at the moment.

All Rise is an album built from a
lot of impressive creative forces. They include Chris Stillwell,
the bassist and drummer from the well-respected funk group Greyboy
Allstars; Greg Kurstin (keyboardist for Beck and Ben Harper); former
Cake drummer Pete McNeal; and Michael Andrews, another member of
Greyboy Allstars, producer of the band Metric, as well as a film
composer for the cult classic “Donnie Darko.” Andrews
plays a number of the instruments and produces the record. On the
album sleeve, he is listed as a songwriter, producer and band member.

RS: How did you begin working with Michael Andrews? Is the partnership
more of a cowriting partnership, a producer-artist relationship
or a band member relationship? Certain places in the album (such
as the end of “No Poem”), where the emphasis is more
on textures, seem like they might come more from the head of a film
composer. Is this right or am I way off?

IG: Mike and I met a couple of years ago through a few mutual friends.
When Merrick dissolved, he and I started recording a little, here
and there. And when we decided we should make a whole record, I
started writing more songs, which I would play for him whenever
he had a spare moment between scoring. Sometimes the songs would
take on a whole other life; sometimes they would just stay the same.
I think he was most interested in making the song as good as it
could be. So I suppose the relationship is more of a producer-artist
one. But I like to think of our relationship embodying all that
you mentioned: partnership, friendship, bandmate, (something) multifaceted.
As for the textures of the record, I’m sure that Mike has
been influenced by his scoring work on films. But I don’t
think there was any forethought about that. We just kept working
until we thought it sounded right.

RS: How did you come to work with the rest of the band? Is this
your touring band or just your recording band?

IG: Mike is in the Greyboy Allstars, and Chris was brought into
the project by Mike. Actually I can’t take any credit for
bringing any of the players to the table. They are all musicians
that had a history with Mike. Pete McNeal and Greg Kurstin have
played on a lot Mike’s film projects. But I want to emphasize
that we all had played a bunch of shows together before we started
recording. We all became very friendly. (And so when the time came
to make the record everyone was very invested. I think I’m
a little sensitive about people thinking that this record was a
“studio musician” creation, not only for my own personal
reasons, but for the players. Everyone’s involvement was really
important to the project. And now that we’ve started making
plans for touring it looks like almost everyone who played on the
record will be able to come out, excluding Greg Kurstin, who will
be replaced by Joe Kennedy. And when Pete McNeal (who has been touring
with Jem) isn’t able to come out, he will be replaced by Barbara

“Studio” albums with “studio”
musicians usually sound like groups of songs uncomfortably forced
into some standard studio package. They can be sterile and void
of any unique emotional output. This album does not fall into the
same problems as the typical singer-songwriter with backing band.
The musicianship has sensitivity and subtlety and depth. In fact,
it sounds like a set of musicians who have used various nostalgic
elements (there seem to be elements of ’70s rock and ’50s
pop and even something of ’20s jazz) to create a unique and
focused sound. Also, the interplay between George and the musicians
is also quite coherent, another rare quality of the singer-songwriter

RS: To what extent were you trying to match the tone of your songs
to the tone of the band? A different way of putting this: When you
wrote the songs on this album, did you have the full-band settings
in mind or was it more of a process of adaptation?

IG: I don’t think that I really have that ability, to write
for a full-band setting. When I’m writing, I never think beyond
me and the guitar. It’s definitely not something to brag about.
Once the song is finished, then I have a better idea of what I want
it to sound like, but it’s always fun to hear what the other
players come up with, and to hear Mike’s take on it. I know
what I don’t like, so that narrows it down. Once it came time
to record, Mike was really clear about how he wanted everything
to sound, especially the drums. He had this little room made for
the drums in his studio so he could get a very tight sound. Our
motto throughout recording was “light and tight.” It
sounds kind of dorky in the retelling. I suppose we knew there was
something that was dorky about it, but it really informed the record.
And ultimately the idea was to leave space for the vocals. Mike
thinks the best parts of my voice come through when I don’t
have to strain over the band, and I think he’s right.

RS: The difficult aspect about adapting voice-and-guitar songs
to a full-band setting is that you gain as much as you lose. Usually,
the intimacy and nuance becomes muddled and the power becomes amplified.
You said that you try to create a subdued band sound, so that your
voice isn’t strained. Do you have any interest in putting
out a solo acoustic album at some point? Or do you generally prefer
playing with a band?

IG: I’d say I’m open for anything. I love acoustic
albums just as much as anything. I don’t know if I would do
that for my next thing. But I think that there is definitely something
to be said for thinking about it in the future.

Inara George is currently on tour. Her first record
is now available on Everloving Records.

Scroll to Top