The most inspiring artists to root for are those who have garnered historic legacies yet have never lost sight of their humble beginnings, and no band exemplifies this notion more so than Gin Blossoms who’s heartfelt character and incredible sense of transparency with their fanbase is equal to the ethereal soundscape of their iconic catalog.
In 2018, Gin Blossoms are truly standing stronger than ever as they recently released their sixth full-length studio LP Mixed Reality on June 15. Without question, this album is one of their strongest collections of material to-date and I happened to cover their most recent performance at Gramercy Theatre, which served as a “Record Release Party.”
For anyone who has enjoyed their timeless masterpieces New Miserable Experience and Congratulations…I’m Sorry, Mixed Reality invokes the prime emotional innocence, gorgeous melodies, jaw dropping musicianship, and uplifting sense of hope that is paramount to Gin Blossoms’ core sound. So many contemporaries from their era are no longer with us and to see a band of their caliber look as happy, healthy, and committed to achieving excellence on all fronts, through their songwriting and live performance, deserves to be celebrated by their fanbase worldwide.
In fact, I recently interviewed Gin Blossoms guitarist and co-founder Jesse Valenzuela and we truly delved into all aspects of the band’s legacy, which includes the writing and recording process for Mixed Reality, navigating through the modern music industry, and the beauty of artist independence. Having interviewed many artists over the years, Jesse is truly one of the nicest and most insightful musicians in the world, which could be felt throughout this conversation.
So you’re coming off a really fun show at Gramercy Theatre last night. I was there too and you had a great crowd and turnout. How did everything go for you and what did you think of the show?
Oh, I thought it was very nice. I have never played that room before. Sometimes you go from room to room, your guitar amps sound way different in different venues. It was a little thin sounding to me last night for my guitar so I had to make some adjustments. I had to work a little bit with my pedals and my amplifier but overall, I had a really good time.
What is your setup on the road? Fender Stratocaster and Fender amp?
Last night, I had a Fender amp and I generally play through a Fender amp and the model is called the “Hightone.”
Your red Stratocaster, that’s your signature go-to guitar, right? I’ve seen you play that guitar, or Strats with that finish many times over the years.
I’ve had two red Stratocasters. I had one early on in the 80s that I actually made because I couldn’t afford a real one. And probably around 1990, I bought that red Strat and it’s a 1962/1963 custom shop Fender Stratocaster. So I built two of them, I have a white one and I have a red one. The red one, it has some religious stickers on it and it has always been my guitar. I have always liked that guitar a lot.
Has that been your primary guitar to write and record with over the years?
Yeah, it has been my primary guitar, the red and white one, and actually a blue telecaster too; I have a handful of guitars. I used to have a lot of things but as I got older, I realized that everything I played sounded about the same so I kind of reduced my guitar collection. It’s a lot to carry around (laughs).
I actually noticed that both you and Scotty only bring out a handful of guitars. Not too many. You both stick with your main guitars for a majority of the show, which is cool too.
No, you’re right, not too many. There was a time where I probably had 30, maybe 40 guitars. It was a little excessive. I have a cartige room in Los Angeles where I keep my amps and other stuff. It’s not what it used to be but I have kept all of the parts that I think I really need. I’m actually falling in love with my mando guitar again that I played last night for one song.
Did you play that when Jim Babjak joined you guys on stage for The Rolling Stones cover?
Yeah! There you go.
Very cool. What about that particular instrument do you most enjoy?
It has some history for me and I bought it in London years and years ago. It’s a Rolling Stones kind of instrument, Brian Jones used to play those a lot. It’s what they call a “Mando Guitar” where they essentially cut the scale into a Mando sized guitar but it’s tuned just like a guitar and runs with 12 strings.
It sounded beautiful, especially for that early Rolling Stones sound.
Oh yeah, definitely. I was just talking to my girl today, I was like, “You know, there is another one I want.” I’ve had that one for a long time and it’s from the sixties. I don’t know if I should keep taking it out on the road. There’s a couple of guys now, guys like Jerry Jones and other builders who make newer ones that might be better to take out on the road.
Oh yeah, you could maintain the art and nuance of the original while playing it safe on the road with a newer one.
I definitely think so. You know what, the old ones weren’t made with the same specifications as the newer instruments so it probably doesn’t tone as well as it should. It’s older and could be a little precarious.
I definitely understand where you’re coming from, I also play the guitar. And since we have been talking about guitars, for Mixed Reality, what was your approach going in the studio and what type of tones were you striving for?
You know, it was pretty clean. I cut everything relatively clean and I was probably running through, it may have been a clean Marshall sound and there was some Fender in there. I think I brought my Pro-Reverb with me, it was a small 2×10 amp deluxe with little compression. And I primarily played a 335 Gibson, Red Stratocaster, and I think some of my Blue Telecaster.
Later on, I remixed some of my songs and went back to the studio. Danny Wilde and I recorded some extra crunch guitars for some chorus effect. You know how you run them through a stereo, you throw in some crunchy guitars in there so you could get the big blow up in the chorus section. I think we used his Gibson Les Paul and 335 and ran it through an old tiny combo amp, like an on old Fender Tweed and you could compress it and throw it up on either side so it makes the chorus come to life.
That’s one of my favorite aspects of Mixed Reality – how clean, precise, and sharp the guitar’s sound. It really gives your tone some nice grit but it also has that soothing element that is essential to Gin Blossoms.
Oh yeah, it is a little dirty. If you go and listen to Tom Petty records, both Tom and Mike Campbell ran straight into combo amps like Vox AC30’s and whatever guitars they were playing; if you turn it up loud enough, it gets a nice natural distortion. It wouldn’t be a metal type of distortion or something like that, I wouldn’t really know how to play that style of music. It has enough definition that stands up in a track. You know, I don’t think there’s too much acoustic on that record. Maybe there is? A little bit.
There’s definitely acoustic layers on certain tracks, they either build into or combine with the electric.
Oh yeah, they are on certain tracks. I got tired of layering too many guitars because we did it for so long. I’m going to use the word “effusive.” It felt like it was just clawing and trying too hard so I kind of backed off that and I don’t know if I cut off my nose to spite my face but I just didn’t feel it anymore. I listened to a lot of our early work, which I’m very proud of but at the same time, I think I was younger and I really wanted a lot of attention (laughs). I kept putting more and more and more on there. Now as I’ve gotten older, I’m like, “Ah, I don’t know if that sounds so good.”
The songs I really loved, they don’t have too much on them. Tom Petty passed away last year and that was a big deal, I loved him and his music when I was a kid. I always listened to Tom Petty a lot but at the time when he passed away, I really dug into his material and listened to it and I was knocked out with how little were on those tracks. It’s really just guitar left and guitar right and it’s just beautiful. So I think that really informed me, I had been going in that direction for a lot of years but after that, I thought, “Well, I think I love it guitar left and right.”
Would you say the passing of Tom Petty influenced your songwriting approach or when you went to re-record some of your guitar tracks on Mixed Reality?
No, the record is actually two-years old and Tom Petty passed away almost a year ago but Tom Petty was always a constant source of inspiration ever since I was a kid. He’s always around and I only wish I could be as good as Tom Petty. He was such a great songwriter.
The cool thing, I think you guys had a Tom Petty style influence on your fanbase, Gen X, and beyond.
What does that mean, exactly?
Gen-X?
Yeah, I mean, Gen-X.
I would say anyone born between the late 60s to early 80s. My aunt was born in 1970. She was the ideal age, early 20s when you guys released New Miserable Experience, so I would say that she was a part of the generation who really grasped onto that record and Congratulations…I’m Sorry.
It’s funny, it was pointed out to me last night that there were a lot of young people at the show, like 30 and younger and I don’t know how they came around to our music.
To be honest, I’m 28.
Oh, it’s funny because my wife was there and she was like, “Do you see the people here? They are Mackenzie’s age (laughs)?”
Mackenzie is your daughter?
Yeah, she’s 28 and my son is 18. They range in age. We saw the crowd and she was like, “I think they are Mackenzie’s age or they are younger than Mackenzie (laughs).” And we didn’t know how they were there, which I thought was sweet.
If I speak from my perspective, I was born in 1990 and when I was kid, I definitely remember hearing “Till I Hear It From You” and “Follow You Down.” I was five, six, seven-ish.
Yeah, four, five, six, seven. That’s cool. It’s funny too, my kids, nieces, and nephews, they all thought “Hey Jealousy” was actually “Hey Jesse” (laughs).
(Laughs) That’s awesome, you were like “Uncle Jesse” and they thought you were the topic of the song.
Yeah, that’s what they thought it was. And well, hey that’s sweet and very nice of you to say. So you play guitar and it’s something you pursue as well besides writing?
Oh, for sure. I love playing the guitar and have been playing for years. I love all of the bands from your era, your contemporaries, and your music has been a huge influence.
Wow, thank you for that and that’s very cool to hear. You know, I like the new record a lot and I’ve worked with Don Dixon on other stuff before. We have a couple of really good mutual friends. I’ve played shows with Don and I really enjoy his company and he is a really terrific and talented guy. It was a lot of fun to work with him in that regard. For us, the record is actually two-years old (laughs). It had been lying there for a while before it was released. It really is like a terrific postcard of that moment. I would like to try and do something a little quieter the next time around (laughs). We’ll see what happens.
Having worked with Don and Mitch in the past and this time through a Gin Blossoms context, how would you describe their recording approach and sonic influence on Mixed Reality?
I think they are both real veterans and gracious guys. What they bring to the proceedings, everything is going to get done, we’re going to have some great laughs, and it’s not going to be hurried. You could trust that you’re going to get the right sounds and I’m a vet with this myself and we have been around for a long time. Being around those guys and making music, it was a very comfortable environment and easy thing to do.
Were there any pieces of advice they shared that influenced your songwriting approach or something that will stay with you moving forward?
That’s a good question. I think the ease at which they carry themselves is terrific and it’s what you should aspire to be as a professional musician. A lot of confidence and ease. We’ve all been doing this for a long time and being with them felt like a nice easy afternoon. We made the record pretty quickly and I think that’s probably the best way to do it.
I think Don and Mitch feel that way too, they’re really smart guys and the idea of laboring over something, it is a pretty young conceit. At this point, if you don’t really know what you want than you probably don’t have it figured it out yet. That’s what I think and I know Don likes to keep things moving, “Come on guys, that was great. Let’s go.” Don and Mitch are both smart enough and such great record producers, if something sounds good, let’s move on.
You guys recorded in North Carolina. How did you like working in their studio and overall, spending some time in a countryside setting?
We have made a lot of our records down south and it was really nice. Mitch’s studio is really beautiful and it was winter time so it had that sort of feel. I haven’t made a record like that where you kind of lock away and you’re stationed there for quite some time. It’s not my favorite, to be honest. It was my favorite to be with those guys writing music but I’m glad it didn’t take very long.
I mean, I will go anywhere to make a record and in general, we got to work together every day. It was a fun experience because I haven’t had to go away and be in a studio like that, like when we were young in a very long time. Do you know what I’m saying? In the old days, we would book a studio and we would have to live in the studio for two or three weeks to get those vibes. As you get along in your career, you do less and less of that. It’s more about moving to a city where they make a lot of records or you just go there, book a couple of sessions, cut three or four tracks, take them home, and work on them. So it was different in that regard and it was just a lot of fun to hang around the guys and be with them.
Last night, it was highly evident to see the chemistry you share with Scotty. How do you guys approach sharing ideas and riffs? How would you describe the chemistry between you two?
You know what, I am very respectful to Scotty and he really is a super guitarist. If you could hum it or even think it, he could play it. He’s a great showman and he really is a beautiful guitar player. What a lot of people don’t realize because he plays a lot of rock and when he performs, he is such a great rock showman but Scotty is a jazz trained guitarist. If you catch him in a quiet moment, he could play some stuff that could really make you cry. It’s really beautiful.
That’s definitely cool to hear about the jazz aspect of Scotty’s background.
He’s taught me a lot about that over the years. I will play a song and I was working on some new music, I actually went to a Burt Bacharach concert a couple of months ago, and I was knocking back some of those songs and figuring them out. I played one for Scotty and he was like, “Where did you learn all of those songs (laughs)?” And I was like, “Watching you (laughs)!”
On a song like “Break,” how do you both decide where to take your leads and solos?
That was Robin’s ideas to split those solos. It kind of throws you off because as soon as you start to build up what you think is a figure and idea, you have to hand it off. It’s a little different. You see what I’m saying?
Did Robin suggest that because he is a formidable guitarist himself? Would you say he has a solid knack for arrangements? Like this lead would sound great here and that solo would sound great there.
Everyone actually just brings in their songs and we just play them. Nobody arranges someone else’s songs. So it’s like, “Here’s the song,” and we just learn it.
There are 15 songs on the album, it sounds like it was pretty democratic and everyone had a chance to contribute.
That was the idea of the record, like we weren’t going to have an A&R person and everybody was going to get the same number of songs on the record. I think everybody got about three or four songs.
I think that’s very cool of you guys, I would say it’s great for band morale and just being a team.
You know what, I had proffered this idea on the last few records. I was like, “Why doesn’t everyone write three songs each for the record? Three times four, 12 songs altogether. We will make a 12 song record and be done with it.” I don’t think anybody was ready for that idea yet. We grew up and came up with A&R and real direction. And there’s nothing wrong with that either, it was nice.
And honestly, at this stage in our career, we are paying for the record so everyone should get what they want. I don’t think that radio exists for us so with that in mind, I think now too, “Well, I don’t know why I create these tracks that I think would probably be on the radio? I should probably just do whatever I want.” Does that make sense?
Oh yeah, I see exactly what you mean. Am I correct in saying that this was the most independent experience of your career, at least since Dusted?
Well, maybe so. But I don’t think for Dusted that anyone had any real kind of experience, or any experience at all to draw from. We were just doing it and trying to survive the day and-a-half that it was to make that record.
That being said, for Mixed Reality, it feels like such a huge weight off your shoulders to have your own choice in the matter and have control of your musical blueprint and to see your fruiton come to life.
Yeah, probably so. But you know what, there were other songs that I brought to the table and I wish I had recorded those (laughs). In retrospect, that’s just how all songwriters are. I think now, “Well, I brought these songs and maybe these are tempoed songs and those are uptempo songs. Maybe it would be fun to do something really slow and a nice dirge.” Our place in the market is different than it used to be so maybe we should exert our independence and do whatever we like.
Coming at this from a Gin Blossoms fan’s perspective, what I think is cool and having listened to this album front-to-back multiple times, this record contains the core elements of what originally drew your fans in from their first listen years ago and I really believe there is that balance of maturity and where you guys are musically at now.
Is there? That really is good to hear and I’m glad. I don’t have that perspective because I’m inside. If I could speak to someone like you, it gives me some insight because I really don’t know. How could you really know?
I could definitely attest, I think you accomplished a really difficult balance to achieve. For example, I have the setlist from last night and you played “Here Again” and “Break” right before “Found Out About You” and “Hey Jealousy.” I thought the energy in the room was really high during those two new songs and they blended into two of your most beloved hits.
Oh wow, yeah, I actually don’t know if they belong there but thank you! I don’t mean to sound like I’m malcontent but I get concerned as to whether we play too many new songs in the set. I could see people starting to lose some interest and even momentum. Maybe not then and there because that is late in the setlist and people don’t know what’s going to happen. But sometimes towards the front and middle of the setlist, I will think, “Ah, I think we’re playing a lot of new material.” You know, it’s tricky. I could be a little self-conscious and I just want to make sure people are getting as much as they want. What do you think? Do you think it’s possible to play too many new songs?
Yes and no. I’ve seen a few noteworthy bands play setlists comprised almost entirely of new material and there was crowd disappointment afterwards. In your case with Gin Blossoms, you played five new songs during a record release show and still played seven songs off New Miserable Experience and a few off Congratulations…I’m Sorry. I think fans should walk away happy if they only went for those songs.
I could see it from you too because you’re a guitarist, writer, and a longtime fan. I’m talking about the casual listener who just wants to come to a show and they’re like, “Oh, I like them! I like that record.” I hope they don’t feel like they are not getting what they want. And that’s just me, it’s just my nature. I just want to make sure that I’m satisfying everyone in the crowd.
I think that’s very kind and courteous and shows a genuine appreciation that you’ve developed with your fans over the last twenty-five/thirty years.
Yeah, because I’ve seen some older acts that I loved growing up and I saw Nick Lowe play a few years back and he had a new record, it was acoustic and he played all of the songs that you would expect and than he sprinkled a few new ones in there. He sort of mentioned, “I don’t want to hit you over the head with my new record but I do have a new record and I hope you will buy it (laughs).” He’s very funny and off-handed but at the same time, he said, “I really don’t want to club you over the head but I do have a couple of new songs that I think are nice, if I could play them and beg your indulgence.” I thought that was a gracious way to approach.
I completely agree. In a similar sense, Robin has a great sense of humor and presented the new songs in a fun way.
How many new songs did we play?
Five altogether. You played twenty songs and it was a “Record Release Show.” Plus, two covers, deep cuts, and your hits.
Well, alright. I guess that’s okay. That was a long show. I don’t know who could take an hour-and-a-half of Gin Blossoms but god bless you (laughs). I really was thankful that it was well-attended. I always think, “Wow, it’s Tuesday night at 9:30; I wonder who is going to come out?” And I was really thankful to have such a nice crowd.
For sure. It was a great crowd and I think it’s one of the best venues in the city to see a show.
I love that. I’m really glad and it makes me happy that you say that. Actually, let me ask you question since you’re a young cat.
Absolutely. Yeah.
I’m making a new solo record and I’m going to start doing some touring during the first quarter. It’s so hard to garner any attention for a 10-song record these days. I’ve been noticing these musicians who write 4-5 song EP’s and they will make it available for download and maybe burn it onto vinyl. Is that the way to approach these things?
Yes and no. It’s so open right now and different releases and formats are working for different artists, traditional and non-traditional. Depending on the artist, yes, I think EP’s are the way to go. Your fanbase has grown up and grown with you by listening to your albums. Like for Mixed Reality, I think the album format was the ideal way to go for Gin Blossoms. For your solo material, independently speaking, I think an EP might be worth trying out.
You know, it seems like a quicker process and I don’t know. Nobody buys records and we don’t really sell records but it is nice to create new material and go into the studio. We’re in a different spot because our audience isn’t necessarily just into to Spotify and they’re also not really buying records. It’s just not something you think of when you get into your fifties, like I’m going to buy a new record. I mean, obviously, some people do but for the most part, they don’t. I see a lot of your contemporaries releasing singles, making videos, and putting them out, like, “Hey, if you want it, it exists here.” Is that what’s happening? I am really curious about your perspective.
Yes, you’re definitely right. I could go in-depth about this. You brought up a great point earlier when you recorded with Don about not overthinking the process, just write and let the material speak for itself. I would approach your EP with the same mindset. For younger bands and the younger generation, you have to constantly remind people about why they enjoyed your music in the first place. There isn’t an MTV video receiving airtime for six-months and maintaining the momentum and creating the nostalgia element. I check out a lot of shows in the city and Asbury Park and I’ve seen younger bands who release 2-3 pieces of music, like 2 EPs within a year or two-cycle, and it keeps their fans engaged and it keeps them touring.
I was going to ask you about this because quite honestly, when it comes to carrying around 10 songs, I’m used to that myself and that’s what I do. And I’m not trying to be dismissive of the way people are listening to music anymore because I get it. We’re all split and we all have time constraints with our lives and everything is moving so quickly, we have so many things to get done. If somebody hands me 3 songs, I might be more than likely to say, “Oh, I could give that a listen.” For a whole record, I might be like, “Ah, I don’t know (laughs).” I’m not sure if I will have time to process it (laughs). When it comes to a couple of new songs, to me, it feels like a little less responsibility (laughs). Is that what’s going on? I don’t get it.
This is what I believe, no matter what, great songs will always stand out. For example, if you release a 4-5 song EP and you believe in every song and you really know in your heart that it would resonate with your listeners; it will be enough to grab their attention and re-spark the flame in a timely manner.
Right, so it’s more of like a, “Hello, how are you doing? Here’s a couple of new songs.” You’re not demanding a world of attention but you’re just saying, “Hey, we’re all in this together. Let’s make some music and hopefully, we will see you at a show.”
Exactly. It’s like a text message conversation.
A text message conversation (laughs)! That is very good! You should quote yourself! That is very good (laughs)!
Thank you (laughs). It’s like catching up with an old friend, you reminisce, you hear about what’s new, and than you say goodbye.
You know what, I think you really touched on it. You’ve given me a lot to think about so thank you. I like that and I think you’re right. I think that’s why it makes sense to hear the way you kids are doing it these days. Listen to me, I sound like an old geezer, “Get off my lawn (laughs)!”
I really think EP’s are the mindset now because people are overloaded with information so when you give them a quick glimpse of what you currently have; they can hear it and go, “Oh wow, that’s cool.” After that, they might feel more compelled to delve further into your music on their own.
Yeah, you know what, you’re right. My son is 18 and he tells me the same thing. He gave me a few of Michael Cera’s records, the actor and he makes folk music records and they were really beautiful. They were obviously done in a living room with a few acoustic guitars and microphones. I really enjoyed it because it was so simple.
Very interesting. I didn’t know he was into songwriting. And through social media, he could announce his EP and his fans might check it out and think it’s way better than expected and start exploring that genre.
It’s very beautiful and I agree with you. I like his approach and the casualness of it.
For your solo material, you mentioned independence earlier so I say it’s worth a shot to release an EP and see how your fans respond.
Let’s have some fun, let’s have a few dirges and bring the string quartet in (laughs). But really, I appreciate you giving me your insight.
You’re welcome. I’m really glad that I could help give you some perspective. I hope I was knowledgeable and resourceful. Thank you for that!
Oh yes, it was very helpful. It was along the lines of what I was thinking and it’s always nice to hear it and get it from the horse’s mouth, if you will, validation from younger people. I have to be honest, I don’t listen to a lot of current music but I do hear it from my son, it’s harder now because there isn’t a business model like my generation had. Our band and our contemporaries grew up with a really strong foundation. If you could prove yourself in one market than you could get brought up to the next level. There were record companies who would invest and help you create something.
Now I see the young artists having to do this all by themselves and it’s pretty amazing. It shows a real dedication to their art and to what they love. I see them out there working hard like I did and without making a lot of money like I did. And without any infrastructure and they built it all themselves. Through social media, they take it upon themselves to market their band and create platforms for people to hear their music. I think it really defines these young artists as being very serious about what they do because there is just no way anyone could approach this life with all that it takes if they don’t firmly believe in it. There isn’t a pot of gold or the promise of what their used to be. You just have to make it on your own.
Before we go, quick question, the album cover for Mixed Reality has such great artwork and it reminds me of Betty Boop. Who drew the album art and came up with the title Mixed Reality?
I actually have no idea (laughs) and it was all Robin’s thing. Believe it or not, I don’t know anything about it (laughs). The whole artwork was all handled by Robin. He has also never been able to name a record. All of his titles in the past have never worked so for this record, we finally said, “You know what, you could name the record whatever you want and could do whatever you want to do.”
