Call him Starlite: The elusive leader of Francis and the Lights, opens up

photos provided by Francis and the Lights

Alright, throw out the book.  Everything they taught you was wrong or at the very least extremely outdated.  Today the only thing that I can tell you for sure is Francis Farewell Starlite is a motherfu...

Damn, I really wanted to say that but I’m a dad and it just doesn’t feel right with my 2 year old son here in the room.  You’ve got a vocabulary Hayes...use it!

Francis Farewell Starlite is freedom, in all it’s ferocious, fleeting and freaky glory.  Moving free of hesitation, redefining, recreating, revolutionary with refined ridiculousness.  Ridiculous to assume he could make the music he does. Ridiculous to thrust upon us this floor pounding, head bobbing, disorienting soulful-funk-rock noise and think we would listen.

But what a ridiculous world it would be without it.

Honestly though, Francis and The Lights have made 2 of the most intriguing and innovative yet distinctly familiar records of the past 20 years.  Imagine a whole album of undiscovered B-Sides of your favorite 80's artists. It was a dear friend of your writer (in fact, my son's Godfather) who called me one night and told me of a band he had just seen that had completely floored him.  "Like The Police meets old school Prince" he told me, shouting over the crowd behind him.  Well dear reader (and dear friend), I hate to admit it, but I was VERY skeptical, as you may be now.   But following his usually sound advice, I visited their website where he promised me I could download their record FOR FREE!  So, I downloaded away (it was quick even on my slow connection, with only 5 songs to the record), opened up my iTunes and pressed play.

This would be the part where I try to describe the music I heard, but I won't this time.  The record is FREE and amazing so please go download 2008's A Modern Promise  and 2007's Striking.  Then comeback and finish reading the article and interview that follow.

Back?  Great.  Let’s begin.  

Mixing elements that clearly draw the very accurate but incomplete comparisons to Dirty Mind era Prince or classic records by The Police, in live performances Francis and The Lights put their unique stamp on songs by artists ranging from Bobby Caldwell to Beyonce and even Kanye West. But when asked to name his key influences in interviews, the band's Leader (the afore mention Francis Farewell Starlite), sites an obscure writing guide originally published in 1918 and written by William Strunk and E.B. White.  Yes, that's right, the same E.B. White who wrote Charlotte's Web and Stuart Little.

Other interviews I read had lead me to believe a conversation with Francis may prove difficult.  However, both gracious, thoughtful and passionate, I found our dialog to be anything but a challenge.

I know you often site the writing guide Elements of Styles as a significant influence.  What is it about that particular book?  I’m genuinely intrigued and looking to get my hands on a copy ASAP, but as a songwriter/writer/artist/whatever sell me on Elements of Style.

This is my favorite book, and my most important influence without question. It is a guidebook for writing, but it’s lessons can be applied to any artistic pursuit, and to the artistic pursuit that is ‘daily life.’ The first time I read it, I had an awakening. I recognized “the error of my ways.” I had been behaving and conducting myself without rationality or reason, and I immediately took it upon myself to change. And I have been on that line since.

“Be clear.”
“Prefer the standard to the offbeat.”
“Write in a way that comes naturally.”
“Omit needless words.”
“Revise and rewrite.”
“Work from a suitable design.”

This is the gospel for me. The authors are forcible and confident and I believe them. This is the truth. The freer, prose-like sections, where Mr. White makes his case, are beautiful and inspiring. Translating oneself to the outside world is a great challenge. The Elements of Style teaches that the best way to attempt it is to be simple, clear, and concise, and to let the work speak for itself. It is my constant guide.

Preach, brother! You’ve got me sold.  Let me say, for what it’s worth, that I really feel this philosophy show in your music.  And that is not always the case when we, as artists, pontificate.
So, have you gone back and read or re-read E.B White’s children’s books?  Do you think there is something to be learned, perhaps, as a songwriter from those books as well?  Maybe a little secret that E.B. declined from including in Elements of Style?

No, I haven’t.

Well, I think I’m going to add that to my list.  You’ve moved E.B. White into a whole new category for me.  It’s interesting because I actually see a similarity in Beatrix Potter and her focus on simplicity and perfection, especially in respect to her illustrations.  There is certainly something to be said for both authors and the fact that their writings still hold up so well. Another piece I find interesting about The Elements of Style is that is was originally published in 1918.  I think that says something about style, don’t you?
 
I’m not sure. The book is an interesting mix of different time periods, because, Strunk wrote the original in 1918, but then EB White added several key sections nearly 50 years later. And then it was revised again by an anonymous editor in the 90’s. By nature, it’s message is timeless.

Absolutely.  I’d like to think that maybe folks will still be talking about Francis and The Lights in 89 years because there is something both timely and timeless about your music.  Do you ever think about the future in that way?  That is to say, I know a lot of musicians who have very different ideas about the creative process and different motivators. When you’re writing is it about a song for all time or a song for our time, or neither?

It is most important to be good, and good things last.

Is there subject matter that you find yourself drawn to as a writer? For example, if you pick up a book of Charles Buckoski poems, practically every other page will have some reference to him being drunk or drinking.  Are there themes you find keep cropping up in your songs?

Yes. I often write songs about my friends. Several of my songs are about my relationships with my close friends. Examples are “I’ll Never Forget You,” “He Was a Good Friend,” “My Goals,” “A Modern Promise,” and several songs on my new record.
Other themes: Autonomy, and self sufficiency. The idea that one doesn’t need anyone or anything, particularly obligatory relationships or family. For example, “On a Train,” “Striking,” “The Top,” “Night Watchman.” This is a very strong thread in my work. I am on my own, I am alone, and that’s the I want it to be.

I also write love songs.

 I think a lot of people view artistic careers as flights of fancy.  So, for those of us that pursue them, there is often an initial spark that turns into a fire, that need to create.  For me there were certain records that I really latched onto that made me want to make music.  What were some of the first records you can remember really setting your heart afire or what records did you first connect with?

The first three: The Beatles - the 20 Greatest Hits, Marvin Gaye’s “Heard it Through the Grapevine,” and Dire straits - Alchemy Live.

That’s actually really interesting and insightful because I can hear all three in your music.  It’s not obvious, but when you say it, I can see it there.  How can anyone not be influenced by Marvin!

You’ve got a few exciting things going on right now that we should address; firstly the new album and secondly SXSW.  I am obviously a huge fan of your previous records. A Modern Promise is an inspiring record, as was 2007’s Striking, but what can we expect from the next Francis and The Lights project?

My plans for future releases are very much in the air - what form they will take, whether recent recording sessions will be included or not. I cannot say with accuracy anything in particular about my future releases, honestly.

Well, I look forward to whatever comes next!  The vinyl of A Modern Promise has been in constant rotation on our turntable at home and the B-Side features some really beautiful solo piano versions of the songs... “Strawberries” is really a standout for me.  I love the fact that this is only available on the vinyl version of the album and makes it a treat, totally worth the purchase.

This is just one reason that from a business standpoint, I find your approach fascinating.

You’ve, as I suggested at the beginning of the article, thrown the rulebook out the window.  But I think now, in this climate, in this industry you have to.  All the old models have broken.  Do you have a certain business philosophy that you subscribe to? Full disclosure perhaps?

In general, I am only trying to do what makes the most sense. I am trying to protect my work as much as possible from outside influence. I am trying to reach as many people as possible on my own terms. I am trying to make as much money as possible without sacrificing my work in any way. As far as I can tell, business models are always changing, breaking, and re-forming. At the same time there are fundamental principles that never change. I can only try to gauge what makes the most sense for my time, and for the future, and then make strong decisions.

I totally agree and think this is a lesson more and more artists are learning.  The music industry isn’t like it was when we were growing up, let alone how it was in the era of the Brill Building or Motown.  We have to innovate and adapt.

Your website not only offers free downloads of the majority of your music in combination with the option to buy, but at the very bottom of the page you also have a list of all your spending and your bank account balance.  Yet there are some conspicuous absences from what most band sites include, such as a bio.  Would you call yourself a sort of transparent enigma?

I believe in simplicity. I also believe in doing as an artist what I would appreciate as a consumer. I have never read a band biography that actually helped me understand their work, and more often than not, they make me dislike the band out of some human cynical reaction. The biographies of well-established artists simply list their accomplishments, the biographies of up-and-coming artists feeling like ‘begging.’ I have no use for that. I let my work speak for itself.

I am very proud of my transaction record. It is a dead-accurate, real-time list of every dollar that i spend or receive, and the remaining balance of money that I own. It is all at once a piece of art, a response to our reality obsessed/reality starved culture, and also a practical tool. Each entry has very few characters and numbers, but because it is brutally honest, it is full of rich, telling information. It is more honest than any self-edited biography, blog or video. You can learn a great deal about who I am and what I do if you take the time to follow it, and read it back in time. You could learn more about me than perhaps a close friend knows, or a whole conversation could show you.

That’s very interesting that you say that.  The transaction record really intrigued me right of the bat.  It’s that innovation we were just talking about and it feels somehow even more intimate than a biography possibly could.

While we’re on the topic of money, something that I feel has been lost in the arts field is the concept the patron.   In the earlier part of the last century writers such as the young Langston Hughes or Zora Hurston had patrons.  Even W.C. Handy worked under the influence of a patron.  The idea of a person of means providing money to support a young artist and allow them to develop their craft is nearly non-existent in our society.  The opportunity for an artist with drive to be allowed to focus on their creation is priceless.  Art for art’s sake, if you will.  Now it seems you have found yourself something of a patron if I am not mistaken.  Is that something you would feel comfortable talking a little about?  How did this come to be?

I’m not sure if “patron” is a good analogy to my relationship with Jakob Lodwick. It is a business relationship. Jakob is not “supporting” me, he is “investing” in me. Our deal was not one sided - he got something quite significant out of it. Time will tell if I used the money well and if he got a good deal. Through working together, we have developed mutual respect and a friendship.

Fair enough, point taken.  It’s an exciting idea for artists to find an “investor” of sorts and still be able to keep control of their music.

So changing gears: How was SXSW?  How about Texas, have you been there before? My wife pointed out “sunscreen” on you list of expenditures and had a little chuckle (she’s a huge admirer too).  But Texas is a different ride to NYC, huh?

I learned a great deal about my performance and live show. Texas was beautiful.

Is there any new music out there that’s really getting you excited these days? Someone from NYC or SXSW that maybe our readers might not encounter otherwise.

I enjoyed Janelle Monae’s performance.

Yeah, she’s fantastic! Tons of energy and a really fresh sound.

A Modern Promise from Francis and the Lights on Vimeo.

Alright, one last question (for everyone that knows the latest album listen to the lyrics on A Modern Promise.) Do I get to call you Abraham or should I stick with Starlite?
...

[In typically a-typical response to this question, Francis simply emailed me an un-doctored scan of his passport.  The name on it?  Francis Farwell Starlite.  Now that’s committed.]

Francis Farewell Starlight is many things, but most importantly he is someone making great, honest and bold music when it is needed most. There is a whole side of music from his new album, which is only available when you purchase it in glorious vinyl format.  And for $13 (less than your average CD) it’s well worth the money and you can still have 1/2 of the tunes plus 2007’s Striking for your ipod.

So when that beautiful piece of acetate arrives in the mail, put it on the turntable and let it play all the way through.  But be sure to...

Live Well & Listen Closely,
J. Hayes

NOTE:  Francis and The Lights are performing tonight (4/24) at Skidmore College with Talib Kweli

visit www.francisandthelights.com for more info