JOHN CORBETT
John Corbett asks one favor: Listen to the music first.
An esteemed actor known for his naturalness in off-beat
roles, Corbett accepts that his first album will be met with excitement by some,
skepticism by others. He wants both camps to put aside preconceptions—and put on
the music.
As an actor, Corbett’s always brought an easy grace to
his roles, whether it’s in the acclaimed TV series Sex and the City and
Northern Exposure or in the hit films My Big Fat Greek Wedding and
Raising Helen. His music carries the same natural, down-to-earth
spirit—only this is not role-playing.
“Music has always been central to my life, much more so
than acting,” he says. “Acting is how I make my living. Music has always been a
passion—it’s something I love, something I can’t live without.”
How serious is he about being a musician? “When I was on
the set of my last movie, the whole time I was there, all I wanted to do was get
back to making music. I wanted to be working up a new song with my band. I
wanted to be in the studio laying down tracks. I wanted to be with my guys on
stage, rocking the house.”
Recorded in Nashville, Corbett’s self-titled debut blends
concise, straightforward Nashville song craft with tight, combustive Southern
rock arrangements that allow his fiery band to stretch out. His material—written
by top songwriters like Hal Ketchum, Jon Randall,
Darrell Scott, Tim Nicoles, Rivers Rutheford,
Bernie Taupin and Mark Selby—takes country music’s earthy emotionalism and gives
it a rowdy, rocking kick.
The album was recorded in Nashville with producer D.
Scott Miller and Corbett’s longtime musical partner, Tara Novick. “The beautiful
thing is that it was just me and a real basic band playing it live in the
studio,” he says. “We wanted it to sound in the moment and not too polished or
fussed over. We wanted that raw emotion you get the first time you play a song
you love.”
The musicians come from a mix of country and rock
backgrounds, with Black Crowes’ drummer Steve Gorman and Music City bassist Mike
Brignardello laying down a steel-belted rhythm behind guitarists Kenny Vaughan
and Pat Buchanan, keyboardist Mike Rojas and steel guitarist Mike Johnson.
Harmony vocalists include Sara Buxton and veteran soul-shouter Jimmy Hall,
former lead singer of Southern rock ‘n’ soul greats Wet Willie.
“We didn’t do any stunt casting,” Corbett notes. “Someone
suggested I should do a duet with someone famous, but for my first record, I
didn’t want to do that.”
Instead, the album focuses on John’s voice, a
surprisingly flexible instrument capable of tender intimacy or growling
ferocity. “I wanted to sing like I talk, to make it as natural as possible,” he
says. “I didn’t want to do anything real showy or grandstanding.”
As far back as he can remember, music has been part of
his life. He grew up in Wheeling, West Virginia, a blue-collar mining and steel
mill town on the Ohio River that’s famous as a music center. John and his mother
lived in an apartment five blocks from The Capitol Music Hall, home to the
Wheeling Jamboree—now known as Jamboree USA. The live Saturday country music
show is the second longest continuing running live radio broadcast, after
Nashville’s Grand Ole Opry.
As a kid, Corbett hung out at his Uncle Phil’s music
joint, Club Madrid. His mother was a waitress, her boyfriend worked the door,
and his grandmother made sauerkraut and hot dogs for everyone. Country and rock
musicians who played at the Capitol Music Hall would stop by after shows, so
John got to see performers like Buck Owens get on stage at the 150-seat club and
jam with the house band.
“On Sunday, when the club was closed, I’d help clean up,
and I’d always end up on stage in front of the microphone, faking like I had a
guitar and singing a song under my breath so no one could hear,” he says.
He played bass in a high school band that performed at
house parties and school functions, taking the lead vocal on songs like Cheap
Trick’s “Surrender.” By the time he moved to California in 1986, he brought
along the guitar he’d started playing. Soon after arriving, a friend introduced
him to a 15-year-old hotshot named Tara Novick, a rockabilly guitarist who
later formed a well-regarded L.A. band, The Voodoo Boys.
“He was a young guy, but he was living in his shack by
himself, and he was real together,” Corbett recalls. “He was the same guy he is
now—only he’s older and has a mustache. I make him wear the same motorcycle
jacket on stage that he had on when I met him.”
Corbett and Novick continued to play music together for
fun after the actor scored his first big role as philosophical deejay Chris
Stevens in the acclaimed TV show Northern Exposure. The first time
Corbett appeared on The Tonight Show, he called ahead to ask if he could
bring his band and perform a song. The talent director hesitated, asking for a
tape. Corbett explained he didn’t have anything recorded, but he pressed the
issue, and the talent director suggested he show up two hours earlier than usual
to audition. He got the nod and was allowed to appear—a rare case of a musician
getting a coveted performance on the late-night talk show without a record deal,
or even a record at all.
That night, Corbett brought along Novick and ace L.A.
musician James Intveld. Being Christmas Eve, the trio performed an Elvis Presley
Christmas song, “Santa Is Back in Town.” “The song started out a cappella, then
we rocked it Stevie Ray Vaughan style,” Corbett says with a laugh. “AT the end,
we bowed together, Beatles-style. The whole thing was a blast and went over
really well.”
For a decade, Corbett owned a large music club in Seattle
called The Phoenix, where he hung out and supported touring and local acts. He’d
occasionally get up and sing “Johnny B.Goode” on stage, but rarely. Through it
all, he stayed in touch with Novick. When Corbett moved back to L.A. in 2000,
the two immediately hooked back up and started jamming again.
In 2004, Corbett accepted an invitation to present an
award at the CMT Flameworthy Awards in Nashville. The actor had considered
himself a country music fan since seeing Dwight Yoakam perform in Hollywood in
1986, and he’d always had fond memories of the country musicians who performed
at his uncle’s club in Wheeling. But this was his first trip to Nashville.
“It was a really warm, inviting environment,” Corbett
says. “I’d invited Tara to come with me. He knew some songwriters in town like
Odie Blackmon (who’s written hits for Garth Brooks, Lee Ann Womack and others),
and everyone was real generous with their time, very outgoing and polite. You
don’t see a lot of that in Hollywood.”
The two hung out and partied and played music with other
songwriters and musicians. Corbett tagged along with Novick when he went to meet
with music publishers, and in one office they ended up trading songs with hit
writer Jameson Clark. By the end of the day, they were in a studio with Clark,
recording their own songs.
Clark liked what he heard and suggested the three of them
make an album. Corbett agreed, but plans fell apart during scheduling. “But I
had the bug by then,” he says. “I knew I wanted to make a record.”
Using his own money, Corbett and Novick went through
whirlwind meetings with music publishers, gathering more than a dozen songs that
excited them. They learned the tunes in a rush, sitting in a car in a hotel
parking lot because that was the only CD player they had. “We’d listen to the
song, write down the lyrics and then run inside and get the chords on the
guitar,” Corbett says with a laugh. “Then we’d go out and listen to the song
again. That’s how we learned everything on the album.”
The next day, they began work with the band they’d hired.
They recorded the dozen songs in a furious weekend recording session. “I knew
before I went in that I had to have the songs down cold,” Corbett explains. “I
knew these guys already thought I was a joke, so I had to convince them that
this was real. I couldn’t screw up—these are the best musicians in Nashville.
But I sang them the songs, and they couldn’t tell we just learned them the night
before sitting in a car. And that’s how we started the record. It was wild.”
Looking back, Corbett believes the intensity and
spontaneity of the sessions resulted in a record with its heart on its sleeve.
“The beautiful thing is that it caught us all in a real creative, focused
moment,” he says. “It was real exciting for me to be in that room with those
guys singing those songs. I think that comes across on the record.”
Once the recordings started making the rounds, Corbett
soon began getting concert tour offers. The variety of artists he’s opened for
reflects the range of his own songs: He’s warmed up crowds for ZZ Top, Lisa
Marie Presley, Buck Owens, Charlie Daniels, Josh Turner and Asleep at the
Wheel, among others. In November, he’ll headline a series of Las Vegas shows
with his band.
He’s had serious interest from major labels, including
one that offered him his own imprint. But after meeting with nearly every label
in Nashville, Corbett has decided to put the record out on his own independent
label, Fun Bone Records.
“In every case, it was going to take a year or two to get
the record out,” Corbett says. “Major labels take their time, they’ve got a lot
of artists and records to deal with. I didn’t want to wait that long. I wanted
this record out as soon as I could. Now we want to play these songs for as many
people as we can.”
Besides, he already has a fan base because of his acting
work. He figures he can begin by tapping into those who will be excited to hear
he’s made a record, and then convince others by performing for them or letting
them hear his recordings.
“I think if I can put this record in the hands of my
fans, they’re going to like it,” he says. “A lot of my fans are women, but when
they’re husbands and boyfriends hear the album or see us live, they’re going to
like it, too. When we play, the guys come up and say, ‘Dude, I didn’t know you
were going to rock like that.’”
For now, he’s ready to take his music to the people and
play as often as he can. “I’m completely devoted to this,” he says. “I can’t
tell you how excited I am. This is what I want to do. This is what I should be
doing. I know that now.”
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