A Quick Swim in the Sea of Music with Nick "Sea of Otters" Ciavatta

If you only know Nick Ciavatta from his many appearances in bars and clubs throughout New York and New Jersey, you could certainly be forgiven for thinking that the singer/songwriter's speaking voice is as booming loud and in-your-face as his performing voice. In truth, the impressive way Ciavatta has, for over twenty years, utilized his industrial-strength vocal cords to belt out sardonic songs about prima-donna-ish rock stars and lawn-obsessed misanthropes belies the soft-spoken and gregarious personality lurking beneath the surface.

Talking to him in person, one quickly realizes that Ciavatta is about as friendly and down-to-earth as they come, and it's easy to hear why people are eager to recruit his rich, warm tone for everything from Sears and Clear Eyes commercials to voiceovers for the Charlie Rose show. He is, however, an artist first and foremost- one who's not only out there performing his own stuff, but also playing midwife to other up-and-coming musicians by interviewing them on his website or featuring them at his weekly open-mic show in Jersey City.

In the spirit of that generosity, we asked Nick to share some of his songwriting methods and insights with Tune Tipster. Here's what he had to say:


Tune Tipster: Your songs have been described as a mix of folk and punk. Is that blend intentional? Do you find that to be an apt description?

Nick Ciavatta: I’m not sure if anything about my songs is intentional-they are all just happy accidents, as far as I’m concerned. As far as a label for my music goes, it’s been described as Folk/Punk, Alternative Funk, and even Alt Pop. I like to think of my style as “Experimental Uptown Jugband Stomp.”

TT: OK, that's one I've never heard - definitely sounds like a niche genre. (Laughs.) Okay, well, how about your lyrics? They seem to be far more thought-provoking and satirical than the average rock song. Where do most of your lyrical ideas originate?

NC: Thanks. To be honest, I really wish I knew where they came from. Not to sound mystical or anything, but after I write a song I often wonder where the hell it came from. I ask myself, “Did I really write that?” I wrote a song called “Disclaimer” years ago and didn’t realize until relatively recently that the song was actually about myself and this phase in my life. Pretty freaky, huh?

TT: Very freaky! So, do you write your lyrics before the music, vice versa, or both at the same time?

NC: That’s a great question, and it varies. For the most part, I mess around with a musical theme and then write the lyrics-usually in a 20 minute session. But, I’ve also written entire songs in my head before I even pick up an instrument, which sounds more impressive than it actually is. I’ve also set my poetry to music as well, so I guess the short answer is that it varies.

TT: Have you ever had to throw away or re-work words you really loved simply because they weren't gelling with the music?

NC: Absolutely-I’ve actually had to scrap entire songs because I didn’t think they were any good, or perhaps they sounded too much like another song. I’ve probably scrapped as many tunes as I’ve kept. I find that I am more focused now than I was when I was younger and tend to only write when I really feel that I have something interesting to say.

TT: With that in mind, how do you know when you've written a good song? What do you consider the finest song you've ever written, and why?

NC: Wow-that’s a tough one. I’d like to say that I judge a song by audience response, but there’s more to it than that. When I debut a song at a gig and I don’t get fruit thrown at me, I consider it a win. Other than that, it really just goes by the way I feel when I play it. If it feels good to me, it’s a keeper. I think, and some may disagree, that the finest song I’ve ever written is “Anti-Social Butterflies” because I think almost anyone can relate to it, and it feels really good when I play it.

TT: Do you set aside time to write, or is it pretty much whenever inspiration strikes?

NC: I wish I could be so organized, but it really is whenever inspiration strikes. Unfortunately my muse keeps strange hours.

Find more artists like Nick Ciavatta at Myspace Music

TT: While I agree that "Anti-Social Butterflies" is your finest moment, I think "Dressing Room" is probably your "poppiest" song - in the best possible way. Did you make a conscious decision to write a more accessible tune, or was it merely a happy accident, as you say? Do you ever set out to write a "hit" song, for lack of a better word?

NC: Believe it or not, I actually wrote “Dressing Room” in the actual dressing room at CBGG’s in NYC many years ago. There was another band in there that was going on before us and they spent about an hour doing their hair and makeup; yes, it was at the tail end of the hair metal days. They looked very glam, but forgot to tune their instruments, and thus sounded like crap. I wrote that song about them and other musicians who care more about fame and getting laid than their music. I don’t think I’ve ever set out to write a “hit”, but I would be thrilled if one of my songs achieved such status. I think the closest song I have to a hit would be “Life Without Pills” which everyone seems to love and request.

TT: Lots of your songs have unusual chord sequences and unique chord configurations. Is that the Frank Zappa and Captain Beefheart fan in you, or is it something else?

NC: Another great question! I suppose I am influenced by Zappa, who was brilliant, but I was writing songs before I really got in to Zappa or Beefheart. I was influenced by bands like Queen, King Crimson and the Beatles and Stones as a young guitarist. I would have to say the two biggest influences on my guitar style would be my Uncle, Ren Selvaggio, who was my first guitar teacher and mentor as a child. He was a jazz player in the style of Django Reinhardt or Les Paul, and I think that’s where I first learned about strange and wonderful guitar chords. My other mentor as a child was Buzz De John, who helped me refine my style. I owe a lot to both of them, and learned a lot, not just about music, but life in general from them.

TT: You used to play a lot of shows on the Jersey shore, but now you're primarily based in New York and Jersey City. Do you find a difference in the feel of the crowds? Has it forced you to alter your material or your playing in any way?

NC: I did play a lot on the Jersey Shore and in NYC and Hoboken back then and I love all the crowds. The great thing about the NYC, Jersey City, and Asbury Park music scenes is that the crowds are so open-minded and accepting of original music. I haven’t had to change a thing about the way I play, and wouldn’t even if I were asked to.

TT: Will Sea of Otters (Ciavatta's band before he went solo) ever "swim" again?

NC: We actually are currently swimming under the name “New Otter Review” these days, which features Pat Lally, my cousin and partner in crime on guitar and vocals. Pat was in Sea of Otters and we have thought about doing a Sea of Otters reunion show with former members in the near future. Keep checking Friggin Fabulous Radio Dot Com for updates!

TT: Don't worry, we've got it in our favorites. (Laughs.) Finally, what's the best advice you can give up-and-coming songwriters?

NC: My advice is to network, network, network! Use My Space, Facebook, YouTube and Linked In to your advantage and find someone that is dedicating to constantly updating your social networking status. It’s also helpful to hook up with a great publicity firm such as Cyber PR, who will work really hard to get your name out there. Oh, and get your music on a Ford or Campbell’s Soup commercial as soon as you can!

Find out more about all things Ciavatta here!

Destroy All Instruments!!!

Okay, that title might be a little extreme, even though I know a lot of people would like me to destroy MY instruments, but there is a certain wisdom to be found in those words. In fact, it reminds me of some of the best songwriting advice I ever heard, which came from none other than Barry Gibb of The Bee Gees. (Not directly, mind you, it's not like Barry and I sit around shooting the sh*t about how to groom your chest hair, or anything.)

Now, I know some people might scoff at The Bee Gees for their disco tunes, but those people are sorely misguided because The Bee Gees are, in fact, extremely gifted songwriters who have written some of the most diverse, enduring and popular tunes of the last 40 plus years. Not only that, they can wear the sh*t out of white pants suits.

Anyway, what Barry said, and I agree with from personal experience, is that songwriters should, from time to time, write away from their instruments. What this means is it's a good idea to get away from your favorite composing tool and try to come up with melodies, rhythms, and harmonies in your head, if possible.

While this may sound difficult - especially if you're in the early stages of songwriting - it does help to free you up from learned or ingrained patterns of behavior and keeps you from falling into a rut. For example, if you write on the piano, you may find yourself always starting with an a minor chord and then going to a G magor chord immediately after. If you write in your head, you may surprise yourself and shift to a g minor chord or something equally adventurous. Or, you might do six bars of a melody before changing the harmony, instead of your usual four or two.

Similarly, you can try writing on a different instrument than you're accustomed, if you are able to do so. Hell, sometimes it's more exciting to write on another instrument that you DON'T know how to play because it ooften takes you places you would never go once you get a little theory in you.

So try stepping away from your instrument to write; don't let it be a songwriting crutch. Try writing in your head riding the bus to work one day or late at night lying in bed (quietly of coruse, so you don't disturb your significant other). You may actually surprise yourself and come up with something innovative that you really like. Plus, you can always go back to your instrument of choice and fill in the blanks if you get stuck. That is, unless you took the first line of this blog to heart and threw your guitar in the fireplace or something...

Be Thought-Provoking, Don't Tell People How to Think

Songwriters often feel very strongly about things and urgently feel like they need to share their message with the world. This sort of impulse goes with the territory of being an artist, I suppose, although some feel the need more acutely than others. Young songwriters in particular often feel the need to try and make people change their ways, or see the world from their point of view.

However, I want to caution you to tread lightly when trying to "convert" the world to seeing things your way. This is not to say that you shouldn't feel passionately about things or even that you should compromise your view. If you feel strongly about a subject, you should definitely express your feelings about it.

This is more about being effective in your modes of expression; what good is shouting at people and telling them "what they should do" if you're only going to turn them off and make them even more determined to ignore your pleas? No one wants to be lectured to or told what they're doing wrong. To do so comes off as the height of arrogance and serves mainly to alienate the listener.

At best, songs that chastise the listener in the second person serve mainly to galvanize fans who are already converted to the singer's viewpoint and agenda (i.e. the proverbial "preaching to the choir"). While these songs DO have a place within certain genres (punk, heavy metal), and can help "rally the troops," they primarily serve a cathartic function and the writer shouldn't expect much in the way of actually changing anyone's behavior. (You probably shouldn't expect much change, either way, actually.)

My personal view is that it's much better to seduce the listener, or give them food for thought, rather than try and jam an opinion down their throat. Any moral debate actually worth having is loaded with nuance and grey areas - no one really needs a song telling us how immoral it is to shoot someone for kicks - and the mature songwriter recognizes this fact. As a result, he tries to shed more light on his own viewpoint or, best-case scenario, he gets people to question something they may have taken for granted in the past. (Leave aside the fact that most people only want entertainment and don't listen to popular music for enlightenment or politics and would consider it foolish to do so.)

To illustrate my point, let's look at two songs on the unlikely song subject of vegetarianism. First, consider the well-known title track from The Smiths' 1985 album, "Meat is Murder." If you've never heard it, check it out here:



While The Smiths recorded some great songs and remain a critic and fan favorite to this day, you really have to wonder who THIS song is appealing to exactly, and whether or not I agree with the message of the song is beside the point. While the goal might be to "unsettle" the meat-eating listener with the sounds of animals being led to slaughter (and there's no doubting Morrissey's sincerity and passion), I can't really imagine anyone listening to this and changing their carnivorous ways. Good intentions aside, it just comes off as too petulant, overwrought, and condemnatory to be effective. As a result, the song serves only as a self-congratulatory anthem for the already-converted, and I doubt even THEY enjoy listening to the repeated moans of a doomed bovine.


Now, contrast "Meat is Murder" with this song from 1982, "Torture Me" performed by punk legends The Damned and written by band member and avid animal rights activist Captain Sensible:




"Torture Me" is about the exact same topic as "Meat is Murder." but is arguably far more effective, despite its lesser-known status. Why is this? Firstly, the equally-earnest Captain Sensible, rather than playing the righteous accuser (even if that's the hidden intention) adopts the first-person role of an animal being slaughtered for food. As a result, he immediately casts himself as victim as opposed to moral judge. This is a clever move, and also one that forces the listener (if he's paying attention at all) into an unfamiliar perspective.

Secondly, the band offsets some of the gruesomeness of the imagery by couching the lyrics in a pretty but sad and plaintive piano melody. Rather than putting the listener on the defensive, this strategy makes the listener even MORE receptive to the subject matter at hand. However, despite the alluring effect, the music remains consistent with the tragic theme of the lyrics.

"Torture Me" is a thought-provoking and imaginative approach to a moral issue that's difficult to broach in the context of popular song. And, while Captain Sensible's moral message may be exactly the same as Morrissey's, his M.O. is completely different. Admittedly, like "Meat is Murder," "Torture Me" has probably never won any converts. However, which song do you think is more LIKELY to give the neutral listener pause? Which song do you think the neutral listener would rather hear if he's already decided on the moral issues? Which one feels more like "preaching to the choir"?

As I said earlier, I have no doubt that Morrissey is quite sincere in his unwavering support of animal rights. Perhaps he would argue that venting his moral outrage on behalf of his fans was the whole point of "Meat is Murder." Fair enough. However, if an artist isn't going to appeal to anyone outside his faithful flock, then he's verging on the artistically insular.

Besides, where is it written that the goal of a songwriter is to "make people think like me"? That's an arrogant goal and possibly the height of folly. Don't fall into the trap of trying to overreach the limitations of a pop song just because of your moral certitude or blinding ambition to bring enlightenment to the masses. Recognize the strengths and weaknesses of your genre and make them work for you.

If you want to make people think, don't tell them what to think or how to think. Try showing them things from a different perspective and let them think for themselves. If your point of view is worthwhile, you'll gain far more converts and fans by stimulating their minds than you will by admonishing their actions.

Give people food for thought, but don't jam it down their throats. Even if it's meatless food for thought.

The Most Important Audience

When I attempt to write songs, I tend to think of the audience I'm writing for. In my mind; if I can't connect with someone or make someone feel SOMETHING than most of what I'm doing is for naught.

That said, have you ever talked to your friends about an album and everyone has a different opinion about which songs SUCK and which songs are GREAT? And none of the songs people like seem to match up? For example, your friend Joe thinks "Transplant for a Care Bear" is the worst song Uneasy Truce has ever written, while Matt thinks it's the pinnacle of songwriting achievement. Likewise, Mary thinks "Banana-Flavored Placebo" is fantastic and Jane thinks it's crap on a shingle.

What does this tell us? Well, other than the fact that Uneasy Truce has some pretty f-ed up song titles, it tells us that different things resonate with different people. (All together now, "Thank you Captain Obvious!") However, I can guarantee that a song has a lot less chance of resonating with ANYONE if it doesn't resonate with the WRITER first.

In other words, while it's fine to consider the audience you're writing for, never let this eclipse the most important audience - YOU! Trying to successfully anticipate what will connect with all the people all of the time is a losing game - even for the experts! However, if you really believe in a song's quality, then there's a much better chance it'll connect with someone out there. And you'll feel a whole lot better being rejected for a song you're proud of than one you only wrote to please someone else.

So, when you're writing, it's okay to imagine the audience you're writing for. Just make sure you've got a seat in the front row.