DRM Johnston (DrmJ) began his music journalism assignments with John Myles (editor of North Country Music magazine/Nottingham, England) during January 1998. His first "Letter From America" was printed within the February issue of that same year. The magazine was initially created to inform followers of Country & Western music within the midlands and the north of England, concerning club news, music releases, events, and performers on the local circuits. Having written for NCM since 1993, and having moved to the UK from the "States" in 1965, it interested me in what this newfound colleague and fellow countryman's contribution might consist of.
DrmJ's "reign" continued for the following 18 months. Besides his monthly "Letter From America" (a newsletter of sorts), DrmJ also contributed a Country Music News Segment, as well as offering feature articles concerning such artists as Emmylou Harris, Chris Hillman (formerly of The Byrds), Vern Gosdin, and Buck Owens.
DrmJ's work is always well-written, and his opinions on various aspects of the Country Music realm are often very controversial. Within NCM, DrmJ's articles became the ones you read and speculated upon, wondering what the consequential feedback might be from the British public. The feature articles written by DrmJ, for NCM magazine, delved deeply into the music history of his subjects. And, of course, his personal choice of singers, songwriters, and performers, as well as his choice of styles within Country Music were made evident within his "avant-garde messages."
His writings, within NCM's publication, possessed an air of arrogance and superiority, and such a display was sure to insight response from those possessing equally strong opinions different from his own. However, it also should have been clear to most of the reading audience, much of what DrmJ expounded upon was said "tongue-in-cheek."
This "dissension" was precisely what John Myles had anticipated from DrmJ, as he was well aware the growing monotony within NCM would be its downfall. DrmJ's contributions to NCM were always lively and informative . . . the opposite of the tedious, repetitive prose often appearing within the magazine. Although, DrmJ ceased writing for NCM within the latter half of 1999, I occasionally contact him, and vice versa. Through these infrequent communiques, I've discovered DrmJ's potential as a Country Music songwriter. He has been amiable enough to allow me to interview him here. Individuals interested in traditional, progressive, and/or contemporary Country Music might find this interview enlightening as well as finding it entertaining.
Susette: DrmJ, what formal education in the literary and musical fields have you had?
DrmJ: Sorry, I'm laughing . . . but I flunked 12th grade English class because all I wanted to do was to lay my head on the desktop and sleep. It wa an early class. So the teacher assigned me a desk at the back of the room, and she advised me to sleep there throughout each English class. So I did just that. She also informed me I'd be receiving straight F's throughout the school year. Back then, I didn't care . . . but everything has its price. So after my senior year, I had to go back to high school for half a day for another year . . . but that time I had to stay awake.
Never attended college. Haven't enrolled in writing classes. My talents within writing and songwriting must simply be God-given gifts. I'm a self-taught guitar player. However, I have the equivalent of 4 years professional instruction within the field of percussion. I read, write, and play snare drum scores at their highest level. I guess, that gave me a strong, solid foundation to use within the craft of songwriting.
Susette: Have you always worked within the literary and musical professions, or have you tried working within other vocations?
DrmJ: I've been writing songs for about 20 years but I've always found it necessary to make certain of other incoming income. The literary writing I've done was just part of that. It really wasn't what I wanted to do . . . it was just required, to make a few bucks to further my songwriting endeavors. But, yeah, . . . I've had lots of jobs. Construction, laborer, car wash attendant, machine shop worker, landscaper, dishwasher, carpet warehouse worker, carpet installer, asphalt paving worker, and beer distributor delivery driver, to name a few. I hated all of those jobs . . . each and every one of them. I'm not saying there's anything wrong with those positions . . . they just weren't for me.
Susette: How was contact first made between you and John Myles (North Country Music), and how was the subject of you contributing to the magazine first broached?
DrmJ: I'd been having some fun bantering back and forth on an internet newsgroup whose topic was Country Music. John noticed my "brash" way of verbally displaying my thoughts concerning Country Music. He e-mailed me, and offered me a writing opportunity at NCM. I accepted. That would become "Letter from America." From there, it just took off. I enjoyed my stint there . . . it was nice connecting to an international audience. However, I was forced to resign when it became apparent an American point-of-view was no longer of interest to either the reading audience or the publishers of the magazine. I still don't know whose decision it was to delete my input. Oh, well. I no longer write there.
Susette: Have you had any literary work published prior to your articles within NCM? What else have you written within the literary field?
DrmJ: Well, I have a book published within the field of herpetology. And many published articles concerning ichthyology. Hardly what you'd expect from a Country Music journalist or a songwriter. But I suppose those earlier writings helped me to hone my craft a bit. I haven't written about zoology or animal biology in years, and I don't expect to be doing that again anytime soon . . . but who knows.
I've also had over a dozen photographs published . . . animal "stills." My unpublished works include a screenplay, a short story, a collection of satire "shorts," and some cartoon work. My non-fiction work seems to be more well-received than my works of fiction . . . but I suppose that's true concerning many writers.
Susette: Your songwriting seems to be coming to the front. I hear Karen Cruise, from Canada, is including 3 of your compositions on her upcoming CD. How has this occurred?
DrmJ: Once again, as with John Myles and NCM, the internet was somewhat responsible. I'd been contributing a monthly article to the Country Music-oriented Saradon website (UK), when I was e-mailed by Karen Cruise, of British Columbia, concerning a manuscript of mine which had been published there.
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The topic of the article was the importance of good songwriters, and how artists shouldn't shun them just to ensure all of the material within their projects are written solely by themselves . . . that's an "ego trip" taken too frequently by major and minor performers. So Karen asked me to send her a demo. I did. I think I sent her 3 or 4 demos, altogether. It just "clicked." Now she'll be including 3 of my songs on her soon-to-be-released 3rd album. Karen is an excellent songwriter, and up until now she's used only her own compositions within her album projects. But she chose me . . . a songwriter from "MONROEville," Pennsylvania . . . not from "NASHville," Tennessee, although she had both options and more. So, like I said, she chose me . . . and I chose her. And I believe this combination is going to work out in a big way.
Susette: Can you tell me anything about the songs being recorded? For example, the musicians Karen Cruise is using for the recordings?
DrmJ: The album was recorded at Woodside Studios (Bob Wood). Oklahoma City, USA. The mastering was done by Jim Falzone at Venus Mastering in Nashville. With that kind of input, the production should be great. Tommy Allsup produced and arranged the album, as well as adding his acoustic guitar talents throughout the project. Tommy played guitar with Buddy Holly & The Crickets at the same time Waylon Jennings was playing bass for Buddy. Everyone knows Waylon Jennings gave up his seat on that ill-fated plane to the Big Bopper. But at the same time Tommy Allsup gave up his seat on that same plane ride to Ritchie Valens.
Byron Berline put down the fiddle tracks. Byron's talent is incredible. He's played fiddle for the Flying Burrito Brothers, the Byrds, and Emmylou Harris, just to name a few. Steve Short did the drum work . . . he's played for Reba McEntire. Gary Carpenter on steel guitar. Victor Rook . . . bass. Dennis Borychi played keyboard. And Terry Scarberry did the lead guitar work. There's quite a bit of talent wrapped up within this project.
As for genre? . . . the album is mostly a mix of Traditional Country, Modern Traditional Country, and New Country. However, there's one song they couldn't quite classify . . . one of my songs . . . "Chain of Blues." They put it in "a class of its own" category. That makes me grin.
Susette: When did you decide you wanted to become a songwriter, and why?
DrmJ: My original goal was to become a snare drum player for the Pittsburgh Symphony Orchestra. I used to practice up to 6 hours a day. But then I taught myself to play guitar. I really liked the melodies which could be created, and I found I had a penchant for writing lyrics . . . so I switched dreams "in the middle of the stream." And that was that.
Susette: Which individual, or band, do you think has influenced your musical flare the most? And why?
DrmJ: Which individual? . . . that's easy. John Lennon. I think the band should have been named "John Lennon & The Beatles," as from my point of view John was the issue. Bands? A lot. The "British Invasion" music between 1964 and 1965 has always had a strong influence on my songwriting. You can't touch songs like "She's Not There" by the Zombies or "Time Is On My Side" by the Rolling Stones. Even the later British influence from Badfinger's "Baby Blue" shows genuine musical genius to me.
Then there's Buddy Holly & The Crickets, and Creedence Clearwater Revival, not to mention Vern Gosdin, Buck Owens, and Hank Williams. All of the above. And more. I try not to stagnate within any given "standard" genre. I guess that pretty much explains why my song, "Chain of Blues" can't be defined within a certain classification. At best, I suppose it might be categorized as "Brit-Influenced-American Country-Top 40 Pop" . . . a "genre" which seems to be exclusive to my way of songwriting.
Susette: How easy, or indeed, how difficult do you find it, when composing a song?
DrmJ: It's usually not difficult at all, for me. I guess, I've written a few songs, both music and lyrics, within about 15 minutes. Those can sometimes be the best songs you'll write all year. On the other side of the coin, however, one song, "Outlaw Trail," took me 10 years to complete. It was the first song I'd ever attempted to write . . . it just plagued me for 10 years. That's not usual, for me. As for "writers' block" . . . I don't believe in it. Songwriting is a job, just like every other job . . . you either do it, or you don't. Sitting around, waiting for "inspiration" is ridiculous. Songwriting is a craft . . . you have to work at it.
Susette: Tell me, DrmJ, what drives or stimulates your songwriting abilities? Do you find personal events inspire your songwriting talents, or are there other triggers which arouse your need to put pen to paper?
DrmJ: It's very personal. At least, most of it is. Some of my compositions have been written for nobody nor anything . . . but most of my songs reflect relationships I've had with women. They're mostly "love songs" . . . or, perhaps more aptly put, "lost-love songs" . . . both, really. The best compliment I've ever received concerning my songwriting came from a woman in England. She was reported to have said, "His music is really good but if you listen to it for too long you might end up hanging yourself." To me, that's a compliment!
Susette: Do you have any current songwriting or literary projects underway, and if so what are they?
DrmJ: Well, I've told you of the Karen Cruise project. On the literary side . . . I'm writing an interview concerning Dr. Cindee Gardner . . . a homeopathic practitioner. I write about whatever interests me . . . it doesn't necessarily have to "inspire" me. From lizards to fish to homeopathic medical practices . . . to music. It's all the same to me. In one form or another . . . it's all about writing.
Since writing this interview, I've had the opportunity of hearing many of DrmJ's songwriting compositions. A talented man, he has played every instrument within the demos he's sent to me . . . the vocals were also his own. He's a gifted individual, and I'm looking forward to the release of Karen Cruise's new release with eager anticipation.
The name DRM Johnston may well be one to look out for in the future . . . in both the literary and musical fields. Check your internet for his upcoming website . . . named, of course, DrmJ. I'm certain he'll have something to say.
©2000 Susette Swanson, DRM Johnston |
