By ERIC SCHELKOPF
On his new single "Flesh and Bone," Chicago musician Dan Rico updates the rawness and energy of '70s glam rock for a new generation.
Rico will celebrate the release of the single with a show on Oct. 14 at the Cafe Mustache, 2313 N Milwaukee Ave., Chicago. Shenandoah Davis also is on the bill, and the music starts at 9 p.m.
I had the chance to talk to Rico about the new single and how he sees himself fitting into the Chicago music scene.
Q – Great talking to you. You have a new single, "Flesh and Bone." In sitting down to make the song, what were your goals and do you think you accomplished them? Is there a story behind the song's name?
The main riff and most of the lyrics to “Flesh and Bone” I’d been sitting on for a number of years. I actually have an older recording of this song that almost went on my first album, "Endless Love," that’s a little sludgier and more intense.
I’m a huge T-Rex fan and eventually just decided to embrace the T-Rexness of this track and try to reproduce some of the tropes I love about their songs.
I think there’s a very fine line between rip-off and homage, and I’m very interested in the history of rock music and recycling/redefining old ideas the way you see commonly with sampling in hip hop, etc. This particular track is one of my first endeavors into this field, with more to come.
The title itself, “Flesh and Bone,” takes the attitude that though the narrator may be hurt or slighted by a romantic encounter, experiences of pain confirm our very humanity. And it’s good to be human.
Q – How did you hook up with Shit in Can Records and how do you yourself fitting on the label?
Shit in Can found me on a music blog and contacted me about releasing some music. I think the punk roots of the music put me in their wheelhouse, and the songwriting got me on the roster.
Q – I understand that your two favorite producers are Prince and David Bowie. What did you learn from them? How have you been influenced by their music?
Both were just filled with ideas. On the one hand there’s the idea that you should be able to dance to guitar music. They really embrace the dance qualities of rock and pop music.
Prince specifically has some really cool guitar solos and isn’t afraid to take some of the arrangements to the extreme. David Bowie had a unique take on background vocals and arrangements that I found really accessible as a rock producer.
Q - There is a freshness and energy to glam rock and garage rock that other genres lack. What drew you to the genres and how have you tried to incorporate them in your music?
I like that glam rock is theatrical. In a sort of post-grunge-indie era when bands are still wearing t-shirts and flannel to perform, I like the imaginative costumes and grandiose bandstand stage set-ups; the idea that rock musicians can be larger than life.
Now that the (rock) genre is so oversaturated and in decline in mainstream popularity, I think it’s beneficial as an artist to celebrate its finer points and what originally made it so impressive and charming.
Q – What do you think of the Chicago music scene and how do you see yourself fitting into it?
The Chicago music scene has thousands of artists and bands. Many of these can be stratified geographically into different scenes.
I operate in a part of the city called Logan Square and play there frequently. In Logan, there’s a big rock/garage scene and I definitely grew up in and fall within that category.
Like the city of Chicago itself, the sad truth is that the music scene has a strong racial segregation. It wasn’t until I spent a lot of time in southern cities like New Orleans and Atlanta that I realized how different Chicago is in this way.
Once you begin to notice that almost all the audience for any rock show is white it’s hard to un-notice. A lot of people have a “that’s just the way it is” attitude.
My hope in the future is to evolve beyond these barriers, to create music that all different people - white, black, brown, yellow, young, old, Muslim, Christian, Buddhist, atheist - can enjoy and get down to.