Europeans In Americana Music: Markus Rill
by Marianne Ebertowski
 American readers
might ask why in Hank's name they should be interested in Europeans
singing and playing "their" music and those who have
read "Americana
Music in Europe" undoubtedly noticed that many Europeans
ask themselves the same question because most say they prefer
the American "originals." However, there are European
artists who are the real thing for the simple reason that they
have grown up with American music even though they were born
and raised on the old continent. One such hybrid creature is
German singer/songwriter Markus Rill. Miles Of Music praised
Rill's "boot-dirt authenticity," while Glitterhouse
called him "the most Texan of the German songwriters."
In a recent interview, the young man from the southern Germany
has a deep longing for the American South.
"I'm from Frankfurt, with no family ties to the US whatsoever.
As a kid I got hooked on rock'n'roll and rockabilly stuff in
the watered-down version of a slightly ridiculous Welshman named
Shakin' Stevens. His first big hit in Europe was Dave Alvin's
"Marie, Marie," so he wasn't all bad. When I was nine
years old my parents took me on a vacation to California. That
way, I got a head start when we learmed English in school. In
my teens I felt drawn to stuff that wasn't popular with my classmates
at all, especially John Mellencamp. Through him I was turned
on to Dylan, Woody Guthrie, and the like. I realized that I had
a lot more respect for artists who wrote their own songs. I also
realized that I paid a lot more attention to the lyrics than
my classmates did. Maybe because I understood 'em better."
'When and how did your professional career start?"
"Gee, I'm still not sure I'm professional. I've been
playing in bands since I was 18, trying to write my own songs.
The bands got better and some of my songs were used, but I always
had songs that were considered too country or too mellow for
a rock band. Then I went to study English, politics, and sociology
at the University of Texas in Austin for a year. Of course, what
I really studied was songwriting, performing, and guitar playing
at the Cactus Cafe, the Saxon Pub, and the old Chicago House.
I went to every open mic in town and after half a year or so
I was good enough to get showcases and regular gigs. No one cared
that I was German, and some folks didn't even notice. When I
was back in Germany, I had the good luck to open a show for Townes
van Zandt. After that, I decided to do things my way. I scraped
a bit of money together and rounded up some musician friends
to record a mostly-acoustic CD. That self-released CD (Gunslinger's
Tales, 1997) sold a lot better than anyone expected and it
gave me the opportunity to put a band together. That is how
I got a deal with the German Blue Rose label for my second album,
The Devil And The Open Road, that was released two years
later."
"Do you have a special relationship with Texas? What
was the weirdest/funniest/best experience you had there?"
"Do I have a special relationship with Texas? Hell, yeah!
The year I spent in Austin was the best year of my life! I got
there and I immediately felt at home. People there knew what
I was talking about when I mentioned Joe Ely or Steve Earle or
Robert Earl Keen or Townes. It was truly amazing to find all
these like-minded people at open mics and such. And then there
were the concerts: Charlie Sexton, David Grissom, Steve Bruton,
Bill Carter, so many great memories. The first time I saw Townes
van Zandt play was a revelation. He performed these incredibly
sad and moving songs, still the atmosphere was so relaxed and
the vibe so good because he told all those funny stories and
jokes between songs. That was a real eye-opener for me, how you
can be serious and entertaining at the same time. The first
time I felt like a real bonafide songwriter was when Austin singer
Brenda Freed came up to me and asked whether she could cover
my song "Can't Get Over You." To be asked that from
a fellow songwriter who lives in Austin and gets to hear tons
of great songs every week felt like an incredible validation."
"Who do you consider the greatest American or Texan musician
and why?"
"Oh gee... just one? It has to be Townes, Bob, Bruce,
Steve, Dave, Robert Earl, Joe, Butch, James, Woody ..."
"With which American/Texan musicians have you been working
so far?"
"I have neither the budget nor the connections to hop
over to Austin and have Charlie Sexton or Lloyd Maines produce
my record. While I was in Austin I often embarrassed Karen Poston
by asking her to sing with me on a song or two. Even then I just
knew that her song "Lydia" (which Slaid Cleaves recorded
later) was truly amazing. I also played with Laura Nadeau, who
sang backup on Slaid's records. Over here, I've toured with the
Shakin' Apostles and have shared stage with Todd Thibaud, a very
nice man and under-appreciated songwriter, as well as Hazeldine,
John Wesley Harding, Steve Wynn and more. I also got to open
for The Yayhoos, a great troupe of characters including Dan Baird
and Eric Ambel. As far as recording goes, I really haven't had
any opportunity to work with the big guns."
"What was the most special experience with any of them?"
"That was the time I opened for Townes van Zandt. I met
him backstage and introduced myself. I wanted to confirm the
starting time and length of my set and he went into a somewhat
incoherent monologue. The gist being "you know if you feel
like continuing to play, do follow the muse." Townes was
very nice and also very drunk or sick. I left his dressing room
and immediately some manager/hanger-on-type guy grabbed me by
the arm saying, "Townes isn't the one who runs this show.
You do as you were told." That night, Townes was in no shape
to play. He botched his guitar playing, forgot lyrics and almost
fell off his chair once or twice. Very sad. That was one of his
very last shows, six weeks before his death. I'm really glad
I had the opportunity to shake his hand and meet him, though.
Also, it is a wonderful thing to happen when someone whose work
you respect and admire respects your work in turn. The Hazeldine
girls, Todd Thibaud, John Wesley Harding, Eric Ambel, they didn't
really care one way or another that I'm German. They liked my
stuff and invited me to join their tour or asked me up on stage
and just generally treated me as an equal. It's funny, because
in Germany you always have to overcome this attitude of "What's your business as a German
to be playing American music?" I've never been treated that
way by any American."
"Give me at least three good reasons why Americans should
listen to your music?"
"I'd say they'll get to hear good songs. They'll get
to enjoy good musicianship and good music. What other reason
is there to listen to music anyway? Maybe my lyrics have a slightly
different slant because of where I'm from and who I am. I try
to find things to write about that maybe haven't been written
about, at least not that often. Or find new things to say or
write from an out of the ordinary perspective. I do believe it's
a songwriter's duty to every now and then tackle a difficult
or even controversial subject. One of the hardest songs for me
to write was "Awful Pretty," a song written from the
perspective of a guy with pedophile tendencies. I hope I've handled
that topic well. But I also write some lighter stuff. I've made
a point of trying to write songs delivering a certain hope or
have kind of a "I won't back down" attitude for the
new album that we're just in the midst of recording. So if you
like your music handmade and rootsy and you give lyrics more
than a cursory glance, you might like what I'm doing."
"Do you have any plans for touring the States in the
near future?"
"I wish I did. Let's see what the new album will do."
"What do you consider the best four song lines you have
ever written?"
"I can't say what my best lines are. But I can tell you
one that always makes me grin when I sing it."
There was a dark-haired
girl in knee-high boots suckin' on a filter cigarette
hearts and promises get broken by and for a girl like that
("Nowhere Begins")
And I like the imagery of this one.
Well, I need to clear my mind
I won't be coming home tonight
I'll keep driving on
And I'll make friends with the devil and the open road
("The Devil And The Open Road)"
* www.markusrill.net
Contact Marianne Ebertowski at ebertowski-at-rockzilla.net
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