By Benjamin Leatherman
By Glenn BurnSilver
By Glenn BurnSilver
By Troy Farah
By Roger Calamaio
By Mark Deming
By Glenn BurnSilver
By Brian Palmer
Dan Wilson's happy because he's recalling the time when his band, Trip Shakespeare, was deemed the absolute worst act in the Twin Cities by virtually every major player in the local press. One newspaper even had Trip Shakespeare positioned prominently on a separate readers' poll listing the worst American bands of all time.
"We were third on that one," Wilson says with an audible smirk. "Just behind New Kids on the Block and the Monkees."
Wilson says the criticism used to hurt. He says it wasn't a lot of fun trying to explain to his grandmother why the press kept calling him a "pretentious fool." But Wilson's over it now. So's his grandma. Just one year later the same newspapers are currently cheering Trip Shakespeare as the absolute best band in town.
"Yeah, we're the tops right now," Wilson chortles. "All of a sudden we're the culmination of Minneapolis' `pop underground.'" Such is life for a band with a goofy name and an even goofier sound. Wilson says the name was an unprovoked inspiration. The sound, though, is obviously calculated; so much so that Trip Shakespeare's overall effect often prances far beyond the bounds of bombast. On the plus side, the band's vocal histrionics and convoluted pop patterns suggest the definition of "quirky" before new wave came along. Think, say, 10cc circa 1975. But just as often, the group's adventuresome originality stumbles over itself in pursuit of grandiose arrangements and needless frills. Just like, say, 10cc circa 1975.
From any angle, it's an approach that makes for a quick-dried initial impression. "I realized on our last tour that by the end of our shows people are either excited and up front at the stage or they're long gone out the door," Wilson says. "It can be a very decisive reaction."
Trip Shakespeare's roster is made up of Wilson and brother Matt Wilson, both on keyboards and guitars, along with bassist John Munson and drummer-percussionist Elaine Harris. The three men trade off on lead vocals. The band's first recorded testing of the waters came in 1986 with the independently released Applehead Man. Trip Shakespeare was just a trio at the time. Dan was living in San Francisco where, he says, "I was a painter, living the life of an artist." He pauses. "In other words, I was working all day as a carpenter." Wilson says brother Matt sent him a copy of Applehead Man, along with an offer to return home and join the fledgling band. Wilson agreed to sign on and in the next four years Trip Shakespeare spit out three LPs, starting with another indie effort, Are You Shakespearienced?. That album helped Trip Shakespeare land a major-label deal with A&M, which subsequently released 1990's Across the Universe and the band's latest LP, Lulu.
Wilson becomes noticeably upbeat when talking about Lulu. The album was recorded, by choice, in a live studio setting with everything--instruments, amps, mics--crammed into one room. Wilson says finding a producer willing to work under such conditions was difficult. But the band was determined to go with the more primitive setup. The goal was to get what Wilson calls "a kind of whole band feel" that was missing on Across the Universe, which was engineered by former Material drummer and Lou Reed sideman Fred Maher.
Wilson says Maher was a relatively conservative producer with more traditional recording methods. "You know," says Wilson, "do the drums Monday, the guitars Tuesday; the piano's in another studio and that's scheduled for the weekend. You do all this layering and by the time you're done, you're miles away from a live performance." Wilson adds that the band's relationship with Maher suffered in other ways, too. "He had always worked with individuals and never really produced with a band as a whole. We make all our decisions as a band--as a group--and I think it was all kind of weird for him."
Thus, the Shakespeareans were intent on a different direction for their next LP. The band insisted that the record be recorded live, either in studio or on stage. Wilson says a number of engineers and producers were considered for the project. But only one, Justin Niebank, seemed excited about the game plan.
"To him, the live setup was completely normal," Wilson says of Niebank, whose production credits (Blues Traveler, Jason and the Scorchers) include extensive experience working with old-time blues musicians, all of whom recorded live and direct with little thought of overdubs.
"We especially wanted to get a piano into the studio with the other instruments," Wilson continues. "Justin kind of looked at us and said that was the only way he knew how to record a piano. We knew we had the right guy."
The next step was to find a studio. Wilson says the band was interested in using a recording house tucked away in the woods 50 miles south of Minneapolis. The band liked the idea of the remote location and proceeded to sell A&M on using the little-known facility. "We were one of the first to record there," says Wilson. "So the record company was concerned about the equipment, if it checked out. We told them, `Sure, sure, nothing to worry about.'" Wilson's giggling again. He's laughing because he's recalling the many bugaboos that indeed hampered the isolated studio. Like the time an eager engineer was poking around in the control room. "We could see him in there with this screwdriver," Wilson recalls, "and all of a sudden there's this big explosion of sparks and the guy's thrown clear across the room. All this while we're out in the studio trying to record."