Photograph by Thomas Crone
Earlier this week, we punched up some thoughts on the Nothing Shocking show at The Ready Room this Friday night. One of the ringleaders of this Jane’s Addiction tribute is guitarist Eric Lysaght, who plays around town under his own name and with Tiny Cows, Salisbury, and Superjam, among other projects. In writing the piece, a brilliant little thought popped up: not only is Lysaght performing for the gig, he designed the posters, which he’ll be selling at the show.
As a visual artist as well as musician, Lysaght tackles our first ever two-fer, tackling both sets of questions (which, it’s true, do bear some striking similarities!). So ever the trooper, Lysaght banged out 14 answers, rather than just the usual seven.
1.
Art school? Self-taught? Some variety of both? Or none of the above?
I'm a self-taught artist. I've been drawing as long as I can remember, literally. My Mom has a picture I drew of Batman and Robin in nursery school. It's in magic marker and is actually pretty good. I've always had a knack for art, and I'm very thankful for it. It's something I've taken for granted over the years, and I'm doing my best to change that. Drawing and painting took a back seat to music for me for a long time, so I'm trying to find more balance between the two these days.
Regarding your creative habits, are you a night owl or an early bird?
My creative habits are pretty scatter-shot but the wheels are always turning. I'm a diehard night owl. Always have been. My peak hours for working on a project are 2-6 in the morning.
In basic terms, can you describe the set up and vibe of your studio?
My studio is set up in my dining room at home. I have everything I need for whatever I may be working on within arm’s reach. My main easel is in the corner. There are glasses full of brushes here and there. All my paints are spread out everywhere. Colored pencils, pastels, drawing pads, tracing paper, X-acto knives, etc. My dining room table is rarely used for dining. I like it because I can have the TV on in the next room, or music playing, or both. Semi-organized chaos.
What are your thoughts on crowdfunding for the arts? And is that option any part of your own approach to creating and selling work?
I don't really have any thoughts about crowdfunding for the arts except that it sounds like a reasonable idea. Sortof like Kickstarter. Whatever gets it done and the artist paid, I suppose. My work is generally on commission, so it's not something that I've used. Maybe in the future I will.
Do you have a dream project that lacks only funding (or time)?
I've had an idea in mind to create an illustrated history of my musical project Salisbury. The characters, themes, and small town Missouri settings are the backbone of the Salisbury records, and I'd like to have a series of drawings/paintings to accompany the music. Right now it's a matter of finding the time and committing to the work. I think it will be a lot of fun, though.
To what degree do you enjoy having public contact, whether that means selling your work at a fair, a gallery opening, etc.?
I love public contact! There is nothing that compares to someone telling you that your work has touched their life. It's really the only reason to do any of this. If you're lucky enough to get paid and make a living from it, then even better. The thing about artists, and I mean anyone with a passion for their craft whatever it may be, is that we'd be doing it whether or not we were getting paid. Any public appreciation is icing on the cake.
What other St. Louis artists inspire or motivate you?
I love Jennifer Hayes' work. She is phenomenal! Paul Cornoyer's paintings take my breath away. I go to the St. Louis Art Museum and take the elevator to the second floor where ''The Plaza After Rain'' is hanging right as the doors open up. It's a religious experience walking out of that elevator. Completely and utterly humbling.
2.
Music school? Self-taught? Some variety of both? Or none of the above?
I'm a self-taught guitarist and singer. I had plenty of opportunities as a teenager with lessons and school that my parents tried to help me with, but my attention span wasn't very good, and of course I thought that I knew it all, so they never worked out. I regret being that foolish as a kid, because I've been playing catch-up with music theory as an adult. Live and learn, I guess…
Regarding your creative habits, are you a night owl or an early bird?
My creative process musically is always changing. If I'm buckled down and writing an album, then ideas will be flowing constantly. If i'm not focused, then they just come and go. And sometimes an idea or song will just come out of nowhere, so I have my studio set up so that I can quickly go record anything that might come up. I'm a night owl by nature, so I really prefer to play and record at night. I recorded the last Salisbury record in regular daytime hours and it was rough for me. I was always complaining to Jacob Detering (our producer) that it was WAY too early to be doing this…and he's like, ''It's two in the afternoon!” Ha.
What are the elements that make for an ideal studio/recording experience?
I think the most important part is to be working with an engineer/producer who knows what they're doing, and a studio that has decent gear and a comfortable vibe. I've recorded in studios where you are afraid to touch anything, or set a beer down, because you don't want to break anything or leave a water ring. Not my type of studio at all. I like studios that feel lived-in and have some character. Also you need great players and people you trust to get the job done right. My experience at Red Pill with Jacob Detering was as good as it gets in my view.
Is it more rewarding to play a technically solid gig to a moderately engaged audience, or to play a loosey-goosey set to a crowd that's clearly "there" with you?
It always feels better if the crowd is there for you. If everyone’s into it, you're not going to play sloppy or half-assed. It's when nobody's paying attention that the mind starts to wander.
You're able to wake up tomorrow, magically gifted proficiency on the instrument of your choice, one that you currently don't play. What instrument would that be?
Piano. I can bang around on some chords and whatnot, but to really be able to play a piano is to have all of music laid out in front of you and at your fingertips. I have a recurring dream of drinking absinthe in Paris and sauntering up to the bar's piano and dazzling the ladies with Chopin. Unfortunately, my repertoire consists of bits of a couple of Beatles songs and a half-assed version of “Home Sweet Home.” Lame.
From childhood on, what's the very first song that you played to a point of real, true satisfaction?
I think the first thing that I felt like I played well was the first part of the guitar solo in “Hotel California” by The Eagles. Man, I played that shit for hours and hours. I remember feeling like I had really accomplished something special. I'm pretty sure the rest of my family didn't feel as strongly about it.
Do you believe there are musical "guilty pleasures," or is this an unfair and misused term?
Nah, why feel guilty about liking something?
