Eliot Morris

You may have never heard Eliot Morris on your favorite radio station, or seen his CD in the big-name record stores, or even know who he is, but that's all about to change.  With an acoustic guitar, an amazing voice, and a charming personality, Morris is on the verge of becoming a household name.  He has recently signed with a major record label, toured with John Mayer and Counting Crows, and started work on his second solo CD.  While at Schuba's in Chicago with the Someday Tour (Eliot Morris, Matt Wertz, Dave Barnes, and Griffin House), we had a chance to sit down and talk with Morris about the label, the end of his band, Parker's Back, and when we can expect the new CD.

EM:

Yeah, just for fun.  Actually, I maybe started fiddling around with piano and I realized there weren't many pianos around, a lot of them were out of tune, you couldn't take them anywhere... So I decided to pick up the guitar.  And also, which is an interesting little side note, the chorus teacher at my high school convinced me to be in the choir, rather than take typing.  Which was good in that it kinda started me... I was always singing in the car and shower, but I was singing with a group now.  But I don't know how to type, so I'm really bad at emailing, which is a very important aspect of today's business.

Anyway, I got out of college, got married, moved, and started saving money, was working a job, after about a year and a half, decided to move to Nashville.  Initially I was working with a friend of mine.  I think we were a little optimistic because I gave it a year and... it's interesting, working with friends can be (challenging).  It was too challenging for me, on our friendship and other aspects of my life, and on me creatively.  So after about 11 months, I decided I couldn't do it anymore and decided to try on my own.

WC:

Are you currently doing music full time?

EM:

Yeah, full time.

WC:

That's fantastic.  There aren't many people who can do that.  How long has it been full time?

EM:

Well, let's see.  Before I moved to Nashville, my wife, Lee, said, "If you're gonna try it, I want you to try it really.  Don't do it half way."  I have a tendency to kinda... "I can get a job and then at nights I can see if I need to do anything..."  So actually it's been 3 years or so.  But, for the first year and a half, I just spent my money, unfortunately.  Recently, about a year and a half ago, I got involved with a record company who's been supporting this habit of mine.

WC:

Now, we know that you're with Universal (Records).  When you put out a new CD, is it going to be an Eliot Morris or Parker's Back CD?  What's the band situation?

EM:

The band situation is that I was signed by myself to Universal.  And as an afterthought, I was thinking that "Man!  I really don't want to be caught in the singer/songwriter thing."  And so in an effort to kinda prevent that, I tried to find some friends and work them in to what we already had and for a number of different reasons, it wasn't happening.  It would take a long time to go into.  For several different reasons, it wasn't right.  And so now everybody's kinda doing their own thing.  And we made that run, you know, played a tour (with John Mayer and Counting Crows), and it just became economically impossible to keep folks around.  There were a number of different reasons.  It wasn't just that.  But it was certainly an important reason.  People have to make a living.  Plus, I already had a commitment with a label and just had to live up to certain expectation with them as well.  It became pretty clear that it was going to be very hard to keep it as it was.  And I'm still not sure how it's gonna end up or what it's gonna look like.  I think that the only thing I know for sure is that I'm involved with it. 

WC:

Well, that's a good start.  They're not going to go off and be "Eliot Morris."

EM:

I don't think so.  I think my name is going to be involved at some level, but I'm not sure if it's my name and a band or if it's just me... I don't know what it is.  I don't know what it's going to end up looking like.  But I know what it's gonna sound like and that's about it.  And that's really the most important thing to me.

WC:

So, a year and a half ago, how did Universal discover you? 

EM:

I got my music to a guy named Scott Register in Birmingham, Alabama and he sent it out to Gary Gersh who's the president of the label there, Strummer Recordings.  It's Universal dollars and distribution.  Gary responded to the songs and had me out to his house and I played music for him.  It was an incredible experience.  Again, I'm like, "I can't believe I'm here.  I wonder if he really notices."  But it was a treat.  He's been a part of great records and I think Scott's got a great ear.  So the fact that they both responded as they did was very exciting for me.

WC:

Was Universal the only label meeting you took?

EM:

No, I went out with Warner Brothers and we got the record to several other people.  The reality is that I didn't, and still really don't, have a live thing happening like I should.  So I think what Gary's responding to is just songs. 

Also, this is one of the most incredible things.  I met with a guy named Sam Phillips (who) found Johnny Cash, Elvis... I met with him, sat down with him for maybe 3 hours, just in his house.  We hung out for an afternoon and it was incredible.  He had the Taking Care of Business logo, you know, with the lightening bolt, that was awesome!  And he responded to some of my songs.  He just thought, "Yeah I really like what you're doing here and here."  And so I was like, "Man!"  I mean, I know he's 78 years old.  But he still has an ear, right?!  At different points I've stepped up in confidence and certainly that was a part of it.

Having Gary and Scott respond is important and I met with Universal.  It's funny, all the meetings you always walk around like, "Man!  I killed it!"  And then the phone doesn't ring and you're like "Huh?"  But I think part of the problem is that I didn't really have anything happening live then and I've still been slow to do that.  The project has grown and gotten people's attention, because of the music, because of the songs.  And hopefully I'll get off my tail and start making the live thing real.  Because it's real important to me and I know it's important for my career.

WC:

What's been the hold-up for you?

EM:

I would say most likely it's been probably just how distracted I can get, to be honest with you.  I write, I get... and also I'm like the worst self-promoter in the world.  I don't have a press kit.  I don't have a press kit.  But I do have a website.  Now you can send it electronically and I do have a site.  And it's alright, but I am just really a horrible self-promoter.  I take pride in a little bit of that.  But at the same time, it could be the death of me.  You know?

WC:

What is your management, booking, behind-the-scenes situation like?

EM:

I just recently signed with Borman Entertainment.  I'm in the LA office where they manage James Taylor, Natalie Cole, and a couple of other people.  I'm definitely like the small guy on the roster.  In Nashville I think they've got Faith and I think, Lonestar, Kenny Chesney, people like those.  I'm in LA. Anyway, I think they're gonna be great.  And I'm talking with CAA (for booking).

And also, I've sort of been in this mode, besides just the fact that I'm bad with promoting myself and some of that, I love to play out.  I really do.  It's also because I've been in this mode where,  since last October, maybe, September, I've been thinking "Alright!  We're gonna get back from that tour and we're going start thinking about a record."  And we started talking about it in October, met with people in October, producer, recorded some tracks in November, decided we didn't like them as much, met with Dan, met with another guy...  It's just been this loooonnnggg process that's just incredibly frustrating.  So I've kinda like, "We're making a record, we're making a record, so I need to focus on making a record."  And so, to some degree, the live end has suffered because of that.  And also it's suffered because it's hard to put a group of people together who can make commitments and that I can afford to keep them around.  But, still, I got my guitar so I should be able to play out more, so things like this (Someday Tour) are great for me. 

WC:

Now would you consider doing a full-blown solo acoustic tour in the vein of what Glen Phillips or Matt Nathanson does?

EM:

Yeah, yeah, sure.  I'd like to take maybe one more guitar, a second guitar, just to give it a little more flavor.  Yeah, I'd completely do that.  In fact, that might be a good idea to do several months before the record drops.  But I love, I really love, playing with a band.  I think people respond more... not that they respond more, but more people respond to a band.  And that's not really ultimately what I'm about, but I think my music also is served better when it's with a full band.

WC:

So, how much do you tour now?

EM:

WC:

How did the Someday Tour happen?

EM:

I just got a call from CAA, the agents of one of the guys booking the tour.  They said, "Do you want to go out?  We got this idea..."  Whenever I get that call, I'm like, "Yeah!  I'm dying to play out!  I'd love to!"  And let me say this.  I really believe that if I get in front of people, they'll get the music.  I just firmly believe in what I'm doing.  I'm not short on confidence.  So any opportunity I can get to come out and play is great.  And it makes it much, much better when it's people like Glen Phillips or these guys (Matt Wertz, Dave Barnes, and Griffin House).  I mean, Glen is incredible.  We had such a great time together.  I just picked him up in Atlanta, I had never met him before, and we spent the next 2 weeks in my car, and staying in the same hotel rooms.  And then these guys too, same thing.  I just met them 2 weeks ago.

WC:

Oh wow!  Did you know their music at all?

EM:

Not really.  I'm really not connected.  It sounds strange.  I'm really not connected to what's out there.  I'm just out of it when it comes to what's happening musically around.  I'd love to be better.  I'm excited to be here as well because Josh (Rouse) is here (playing the late show).  '1972' is one of the last records I bought that really meant something to me.  Maybe that's kinda what's happening.  But, I sat down and listened to the Beatles.  That's one of the coolest things about music; to get into, the people you get to meet and the people you get to be around while you make your music, for fans and musicians alike.

WC:

Who are you listening to?

EM:

Well, '1972', the new Josh Rouse.  And then The Beatles.  Let me think what else.  I just got a Kinks album, the Muswell Hillbillies, which means a lot to me.  Ummmm, what else?  I'm into the White Stripes a little bit.  Wilco.  God!  'Yankee Hotel Foxtrot' is one of the most incredible records.  I've been into the Wilco album for a while.  And, from what I understand, they're getting ready to come out with the next record.  I talked to Scott (Register) about it and he said it's incredible.  They came into his office and played it.  I was like, "Get me a copy!"

And I've been fortunate enough to work with a guy named Ken Coomer who's the drummer. Ken's great!  The hard thing about a band... I mean... I feel like, to some degree, what I did with Parker's Back wasn't as honest as it...it was, because these guys are all great musicians and great players, but we were just at a point where everything was just so uncertain.  It's one of those things I just threw together and thought, we all thought, it would turn out a different way.  It's a hard thing to do, to manage a band. 

WC:

Now were they session musicians or in a band?

EM:

No, I just started meeting people and was like, "Do you want to play with us?  Do you want to play with us?  You wanna play?  You wanna play?  Oh!  We'll call ourselves this.  Alright!  We'll do this, this, and this!"

WC:

What's the meaning of that name (Parker's Back)?

EM:

Parker's Back is a short story by Flannery O'Connor.  Ironically I chose it because I really love her as a writer, but I only read her short stories.  Not all of them, but many.  One of the things that I dig about her is that she's just honest.  The way she presents her characters, if the character is gonna say something that sounds absolutely terrible, or if the character would say something absolutely terrible, she has them say it, you know?  She's real.  And that was the hope for that group, for the group of guys we had.  And that's still my hope for my music.  But the reality is that bands grow up together, bands live together, create together, and we had a, we just kinda... I don't know it was kinda hard because of the situation.  Certain label expectations and the other stuff I mentioned.  And it got to be that since I'm on a label, I've got to support these guys who are out here unless I make them part of the deal which I can't do because it's after the fact.  So it got to be something that was really complicated and hard to juggle.  And what it turned out (to be) in the end, the reality of the whole situation is that it was not a band.  The only thing that made it a band was that we were playing together, which was great.  It was a learning experience and wonderful time.  Those guys are all wonderful people.   And still, some of guys, we might still end up playing together.  I just don't know what it will be named and what it will look like.

WC:

So how are you going to differentiate yourself from the singer/songwriters who are so prevalent right now?  John Mayer, Matt Nathanson, Ari Hest, who just got signed to Columbia...How are you going to set yourself apart?

WC:

Do you have a master plan?  Where do you see yourself in 5 years?

EM:

You know, to be perfectly honest, music is one of the most uncertain things in the world that you could ever be involved in.  Case and point:  I was going to LA and I was leaving on Sunday.  It was Friday and I didn't have my itinerary, it's like, "When am I leaving?  What's going on?"  That's how last minute this business is.  But, ironically, it can take a long time to come together too.  Of course I would love for people to hear my music, but if I can live and pay the bills and just create, that's so rewarding.  I don't know.  It kinda goes back to (being) surprised that people want to hear what I have to say or to even hear me say it.  But, I always want to be surprised by that.  I never want to get to where I'm thinking, "Of course you want to hear it."

WC:

Yeah, we've met some of them.  Now, you have this CD that you put out a while ago, but when people are first discovering you, they're hearing the songs for the first time, but it's old to you.  How do you handle that?  How do you feel when people really want to hear a song that you did years ago?

EM:

I think it's really my responsibility not to stretch out too far and not move too far down the road at this point.  It's my responsibility I think. I do want to show new things.  Tonight I was thinking of playing a new song, but it's at the expense of something else.  Especially on a tour like this, it's hard to do (when I only get) 5 songs.  So, my rule of thumb is that I have to hold myself to 3 songs off the record and 2 that aren't.  But, I played at WorkPlay, and I can't remember who said it, but someone said, "I would have loved to hear some stuff off you're record."   And that's important for me to hear.  I still have a responsibility because it's new to you. 

WC:

That's the thing.  We feel bad, like should we ask (to hear the old stuff), because you're probably sick of it!

EM:

No, no, no!  I'm not sick of it.  'Anyway' is a fun song.  And when you see people react to it the way they do, to that song in particular, it's a lot of fun.  Off that record I love to play, 'A wake' because it means a lot to me.  Lyrically I'm pleased with it, very well pleased.  And 'Infancy of Us' is great.  I don't really play 'Lost Inside Your Love' anymore just cause... you know.  That's one of those songs.

WC:

Do you have any lost songs that you simply can't play anymore?

EM:

I have plenty of songs that I've forgotten. 

WC:

Do you not write things down?

EM:

I write things down, but I'm not a writer or read music or anything, so what I've got is (a recorder) and 10 or 15 mini discs with ideas.  What I've done is, a good friend taught me this, always have something to record close by.  I'll get ideas in sound check and I'll be, like, "Hmm, hmm, hmm."  All my songs are pretty much written from melody first, and from mumbling an idea.  And I believe the lyrics are there and it's just a matter of finding if the melody is right. 

WC:

So, who are some of the people who you would really like to work with?  Who are your dream collaborators, maybe for your upcoming CD?

EM:

Ummm... I don't really know.  Producers?  I would love to do something with T-Bone Burnett I think.  That would be really incredible.  I don't know... Nigel Godrich does Radiohead, but he also did Travis, which is kinda closer aligned with something I would do, so that side of Nigel Godrich.  I really dig Radiohead but certainly that would be a departure, to some degree, of something I would write.  But, certainly, those two would be wonderful.  I think the guys from Graham Colton just got done with Brendan O'Brien.   I think that would be incredible.   But, I'm excited to be working with Dan and optimistic that we're going to have something really wonderful and that we're going to be able to create a record that I'm going to be proud of and that, if given a chance, people will get.

WC:

Those are all the questions we have for you!  Thanks so much for your time, Eliot.  We really appreciate it!

To find out more information about Eliot Morris, visit his website at www.eliotmorris.com.