Portland, Oregon-based duo Pretty Gritty (Sarah and Blaine) have cultivated a sound that is both timeless and classic, as they push their rootsy-Americana sounds into an edgy, alternative space on their latest outing, Seven Year Itch. Combining breathtaking harmonies with memorable melodies, the multi-instrumentalists lovingly crafted songs engage and transport the listener. Currently playing throughout Oregon, the duo kindly took the time to answer their Essential 8 where they talked musical mentors, shared the story behind their album's title as well as their thoughts on drinking at gigs, and much more.
Do you have a musical mentor? If so, who was it and how did they influence you? Every producer/engineer we've worked with has served as a mentor in my eyes. First it was Matt Montoro (Third Stream Music and Design - Fredericksburg, VA). He recorded our debut, self-titled album. I had very little studio experience, very little singing experience and was still getting comfortable playing my acoustic guitar. He really helped me hone my skills in songwriting and performing and allowed me to spend countless hours in the studio. I did a lot of practicing and also learned a lot about recording and running a studio. Matt also taught me a lot about navigating the world as a self-promoting DIY musician. The experience I gained during those early years, they are priceless and I'm still using the tools I learned then, today. Mark Williams (Sucker Punch Studios - Bethesda, MD) was the second producer we worked with (River EP). Again, during our many hours in his studio, he played a big part in helping further develop our sound. Our most recent producer, Paul Buono (Creative and Dreams Music Network - Franklin, TN; Lonely Road EP; Seven Year Itch) has had a major influence on my songwriting and our approach to recording. He's the first producer to insist that we track all of our vocals together. When I listen to older recordings, and compare them to the songs we've recorded with Paul and Fred Cannon, you can really hear the difference in the performances. Part of it is because we are just better singers and better writers now, but there's a magical element to our new stuff that Paul captures so beautifully. He's such a visionary. We go to the studio with "finished" songs to present. Paul listens to them and immediately you see the gears turing as ideas start popping in his head. Sometimes it's as simple as repeating a section or adding an extra chord. Sometimes it's more complicated. With "The Voice" he suggested we turn the bridge into the choruses and he helped us come up with whole new instrumental bridge. I never would've heard it that way but it absolutely works and it's a better song! He's got this amazing ear for background vocals too. The classic 1950s "oooohs" in "All I Have To Do Is Dream," the 1960s "doo-wop" style vocals in "Save Yourself The Trouble." Paul came up with those parts on the fly, in the moment and we laid them down within minutes. His vision is just awe inspiring to me. He really knows how to hone in on the specific mood and style of each song and knows exactly what to do to convey them. It's like every song in its most basic form is a script for a movie. Paul knows exactly what to do to lay down the soundtrack to each one without too much fluff. Each song still has an intimacy to it, yet the production of it is strong enough to pull the appropriate kind of emotion out of the listener. Paul's ear is just incredible. He's such a sweet person too. He makes sure the process is collaborative and is always checking in to make sure we are comfortable and inspired. I love that about him. Plus he taught us the most valuable life lesson. To always look for the "WOOHOO" deals at the grocery store. :) Where do you do your best songwriting? I always have to be alone when I'm writing songs. I spend a lot of writing time at my boyfriend's apartment when he's at work. I've even spent late nights in the back of my minivan making voice memo recordings. It doesn't really matter where I am. I just have to be alone.
Is there a story behind your album’s title?
We had been together 7 years and endured a tough winter. After Blaine and I had introduced each other to our new songs, I asked him what we should call the album. He suggested "Seven Year Itch" and I thought it was perfect. What’s the best advice you ever received from another musician? After seeing Joshua James perform at a concert in Maryland I asked him if he had any advice for an aspiring musician. He told me NOT to pursue it unless I absolutely have to. If I don't have to, I should find something else. 5 or so years later, I know exactly what he meant and I couldn't agree more. What are your must-have albums for the road? Right now I guess these: Queen - A Kind of Magic Jason Isbell - Southeastern Michael Kiwanukas - Home Again (Album) Imelda May - Mayhem Honey Honey - Billy Jack Favorite or first concert ever attended? I saw Anderson East for the first time a couple of weeks ago and I must say, I still find myself daydreaming about that show. He was incredible and his band was amazing. That'd be my current favorite. My first ever concert was White Zombie and Pantera w/ Deftones. I was 15 and it was a damn good show. Favorite gift from a fan? There's this couple who started out as fans and have since become like family. They have helped us out in countless ways and are the BEST kind of people. They thought our merch game could use some help so when we released the Lonely Road EP, they showed up to a festival with a box of Lonely Road t-shirts. At our recent album release party for Seven Year Itch, they made sure we had some brand new, very soft and very stylish t-shirts with our new logo to help promote the new album. We are still blown away. Is drinking at gigs a positive or negative? I used to think it was a good thing because I needed a 2-shot minimum to get over my stage fright. At the end of a long night it wasn't uncommon for Blaine and I to have 7 or 8 shot glasses at our feet, EACH. After 8 years and a hand full of lengthy tours under our belt, drinking during gigs seems less and less appealing. We pretty much just drink water while we play. Then maybe 1 or 2 after the show. Alcohol just makes me play and sing sloppier these days so its not worth it. To each their own though! I know plenty of folks who can suck em down and don't miss a beat. If you can remain professional and responsible then I don't see a problem with it. It's just not for me. FACEBOOK I TWITTER I INSTAGRAM
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