Old turns new with Ken Eisner
Film writer reveals his musical self to deal with the uncertain, changing times
Ken Eisner is self-conscious. Known as a writer about film in Vancouver, Eisner is more used to being an interviewer rather than the interviewee. He’s on the other end of the microphone and feeling strange.
“You have to understand I’ve never done this before,” he apologizes.
Although he was able to draw from his knowledge of film, it is as a part time musician that he conceived and put together the album Old Songs For The New Depression, taking songs from the 1930s and adapting them for the era in which we are living.
The record features many guest spots — from Ron Sexsmith and Robben Ford to local singers Jim Byrnes, Colleen Rennison and Gail Dalannah Bowen. Eisner is the main guitarist, and has reinterpreted such oldies as Pennies From Heaven, 42nd Street or Buddy, Can You Spare A Dime.
The escapism of Pennies From Heaven is juxtaposed against the breadline imagery of Buddy, Can You Spare A Dime and clashes when Eisner works a medley of We’re In The Money and You’re Nobody When You’re Down And Out. The pop song of the 30s addressed the time. The modern pop song avoids it.
For better and worse, recent technology has changed everything, creating equal parts optimism and anxiety. Is this the new Depression?
“There is an economic uncertainty,” Eisner says. “It’s not just being poor; it’s not knowing where we’re going. It’s not knowing who’s in charge.
“People put on a brave face when they’re facing down adversity. They drew from the songs.”
Old Songs formulated five years ago with Twisted Siskel, a band of film critics (which included The Province’s Glen Shaeffer) as a film fest sideline. Some songs fitted the concept and were kept. Others didn’t. The guests did what Eisner didn’t think he could.
“It seemed to take on more meaning as I worked on it,” Eisner notes. “I called on my journalistic background, and what historic background I had.
“I was looking for a consistency that would carry it through so many different styles. I had to be the continuity of the project, but I didn’t want it to be seen as a vanity project. I know all these people who can do it better than me, so why not ask.”
Everyone Eisner approached made time and “brought more to the record”. Each guest was like a character in a cabaret.
“Once the bed tracks were done, it happened very quickly. You’re drawing on people’s imagination, not just their ability.”
Making the album was satisfying hard work but it’s given him ideas. Eisner wants to do an album of songs taken from the film noir of the 40s. Knowing what to expect, this one should be easier.
“I spent five years selling,” he says. “Now, I just do.”