News About Rich Schroder, Singer Songwriter

Rich Schroder is a man of many musical strengths, creatively speaking and also concerning the business side of the industry. He has an astute sense, not only of creating his folk/rock music with a lyrical content steeped in living/breathing stories for everyone, but also a business-oriented sense of direction, timing, and entry into a volatile and difficult-to-break-into industry. You’ll hear him say that his music isn’t for everyone, but the humble aspect of that statement comes full circle when you listen to the unfolding chapters of his new album, Your Kind Words. The crisp musicality and pointed lyrical content draw you in through simplicity and hold you there in a complex whirlwind of ideas, stories, and concepts about the many facets of life. If your life requires a musical soundtrack, and I can’t imagine a life that doesn’t, you can find something to fit into that proverbial jukebox on Your Kind Words.

Your Kind Words can be defined as a folk/rock album, resplendent with the countryesque feel of the American heartland come-to-Boston. The enigmatic hooks reveal an ebb and flow permeating the lyrical content and the constant of Rich’s acoustic guitar. There is certainly a Steve Earle quality to the album and a feel that Springsteen embraced on Nebraska. The cool thing about the singer/songwriter genre is that picture of sitting at the edge of a moving freight train rolling through the countryside. This feeling can be found throughout Rich Schroder’s CD and shines brightly at the end of the title track, “Your Kind Words,” when an unrefined ride cymbal deftly works its way to the forefront, simultaneously working its authenticity to the core of your soul.

METRONOME: Your website www.richschroder.com is rich with some very personal content that draws the reader into your musical associations, such as iPod Album Picks - with listings for Bob Dylan, Johnny Cash, and Ryan Adams, your songwriter’s journal, lyrics, MP3s, and performance announcements. Most of all, people can purchase your new album, Your Kind Words, but I also thoroughly enjoyed the very professional and creative video, which highlights the songs on your album as well as providing glimpses of the work you did at Mixed Emotions recording studio. Can you tell me a bit about how the video came about and what you’re hoping to do with it, distribution-wise? It seems to go far beyond a simple performance video posted to a website.

Rich: I have a publicist that I hired to promote the album. She sent my record over to Hollywood Previews, which is a company that places CD inserts in the Sunday editions of major national newspapers. I guess it’s a new thing that they are trying to do, distribution-wise. People can put it in their computer and hear about new bands, as well as sports and movie previews. It’s pretty cool, and I’ve checked out some of their previous inserts. I was invited to be on a CD insert as a songwriter and I’ll be up against bigger bands like Guster, whom I’ve seen in there before. So people can check it out and find out what I’m all about at a national distribution level.

METRONOME: It’s shot as a mini-documentary and takes the viewer through the recording of the CD and most of the tunes. Did you consciously do this up front? Artists are sometimes so wrapped up in making the album and think about marketing after the fact, but it looks like yours is taking place during the recording.

Rich: It took place during the end of the recording process. Hollywood Previews sent me questions to ask, so I just had someone off camera asking the questions. They’re a company out of LA, so I could have flown out there and had them do it, but I asked them if I could do it here because it was cheaper for me than flying out there. So, what you see is me answering their questions during the end of the recording process and putting some things in about the studio.

METRONOME: Did you record the entire album at Mixed Emotions?

Rich: I’d say 80% of the album was recorded at Mixed Emotions and another 20% was at Vantine Studio. We did all the keyboard tracks at Vantine, just because they had a Hammond organ and a piano, which Mixed Emotions didn’t have.

METRONOME: How did you settle on these studios for recording?

Rich: I found an ad stating that a producer (Kenny Lewis) was looking to work with new acts. I’d never worked in Pro Tools before, but Kenny is just a master at it. He was going to do a song with me for free, but I ended up liking him and the studio so much that I did the whole album there. I really think it’s a great studio. It was a nice comfortable environment and we had a lot of fun.

METRONOME: You’ve been in the music business for a number of years, as well as being in a band (Zen Lunatic) that almost broke through. Throughout all this you pursued an MBA. It’s time consuming to really work at a band and it must have been daunting to pursue a degree like that at the same time. Tell me a little bit about taking on those two hurdles.

Rich: I’ve always been interested in both sides of the music industry. I love creating, playing guitar, writing, and the entire creative process, it’s fascinating. I also like the process of doing what you and I are doing right now, talking about the music and trying to market it. I’ve always been interested in both, which may seem a little odd in some ways, but they both just kind of fascinate me. Its hard for any musician who is trying to make a living doing music. You have to focus on both. A lot of people just like to focus on the music and there are some business people that can’t get their mind around the creative process. It’s that place in between that’s of interest to me. I try to find a balance there, but it is tough. For me, I love it so much that I felt like I had to get better at the other side of things. I wanted to be doing enough marketing to hopefully put myself in a position to get lucky.

METRONOME: How does it feel now, after taking a break from the music for awhile, both playing-wise and emotionally? Do you feel more in touch with it at this point? Did you see the break as a necessary evolution in the creative process?

Rich: I have a much better appreciation and understanding of the songwriting process than I did before. I was a lot like most of the regular musicians around Boston. You get into bands, write songs, and try to make a go of it. This latest effort was much more concerted. I took a big step back and I started to understand that I didn’t understand my craft very well. I didn’t know how to write songs as well as I thought I did. So, I went back to my music mentor, Ross Adams, and I just started studying songwriting. I would read books on the process and dissect songs. I started getting into Dylan and The Beatles and understanding what makes great songs. I was at Ross’ house for a couple of hours each week and we’d write together, and rewrite. We just wrote lyrics for a couple of years.

Your Kind Words is a lyrical story-based folk/rock record. I spent about 4 years making Your Kind Words - from the writing process to finishing the recording process. Not being in a band, I get to screw it up all on my own now. It has its pros and cons. I love the guys that I played in bands with, but now it’s not about coming to a consensus, but that’s tricky too because I have to make all the decisions about where things go. Ultimately, I think it has made me a better player and a better songwriter. I’ve done about 80 shows this year on my own, and I do think it’s made me a stronger musician. When you’re in a band you play off of other people’s strengths, so if I’m not good at talking to the crowd, I’d let my buddy John do that. When you’re on your own you have to do everything. You have to be good at your instrument, singing, songwriting, performing, and the business. For me, it’s just been about becoming the best musician I can be, and going off on my own was a great way to do that. It’s scary, I remember the first time I walked up at an open mic 2 1/2 years ago, my knees were shaking. Now I get up and play 3 hour gigs, 6 hour gigs, and it’s no big deal anymore. You just try to keep getting better at it. That’s the thing I love about music, it always beats you. You can always get better at it.

METRONOME: In terms of the music that you’re playing, the genre that you’re a part of, how do you feel about your fit in the Boston music scene? Do feel the need to make a move toward what might be considered a more dynamic singer/songwriter area, like Nashville, or do you think that Boston, and New England as a whole, offers enough to keep that performance spark and infusion of musical creativity alive for you?

Rich: I love Boston, and I think it is a great fit. There’s a lot of competition, but I see that as a good thing. It just makes you better. You have to get out there and fight for gigs, and there are a lot of people out there doing the same thing. Is it the greatest market for a folk kind of Country player? Maybe not; the record does seem to be doing well in the South and the Mid-West, which doesn’t surprise me, but, like I said, I love Boston too much to ever leave it. I think that it’s been a great training ground for me. I think that there are a lot of people that like this type of music. They might not be hanging out at TT The Bears, but they might be hanging out somewhere else.

METRONOME: It’s tough, just like anywhere, but with the eclectic diversity that is apparent in all the bands from the New England area that have broken through into the upper echelon of recognition, once you find your fan base, they’re incredibly loyal. Check out www.richschroder.com for information, performance dates, and to buy his CD, Your Kind Words.

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"YOUR KIND WORDS" ALBUM REVIEW

BY DOUGLAS SLOAN

METRONOME MAGAZINE

NOVEMBER 2006

Rich Schroder is a poignant songwriter and musician that proves his merit on his fine new album "Your Kind Words". He is a master of prose, and uses his lyrics to create powerful imagery much like great American songwriters John Hiatt and Steve Earle. Touching down on serious situations like spousal abuse (“Never Happen Again”), scandals in the Catholic church (“Father Jones”), and a look at a serial killer (“Green River Killer”), Schroder also reveals his lighter side on songs like “Repo Man,” “The Home Depot Type,” and the hilarious “A Hillbilly Makeover.” And, you won’t want to miss Schroder’s rendition of Mark Sandman’s song “In Spite of Me.” But no matter what kind of tale Schroder spins, you can be assured that it will be well written and played.

Masterfully recorded by Kenny Lewis at Mixed Emotions Music studio in Middleton, MA., Lewis captures the essence of Schroder’s nuances and dynamics on "Your Kind Words". In fact, this is one of the finest sounding local recordings I’ve heard in sometime with it’s sparkling acoustic guitar and superb piano and organ sounds. Featuring exemplary musicianship and songs that resonate with a genuiness, expect to see Schroder nominated for a Boston Music award. Good stuff!

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"YOUR KIND WORDS" ALBUM REVIEW

BY MARK WATERBURY

MUSIC MORSELS

JANUARY 2007

Boston singer/songwriter Rich Schroder harkens stylistically towards Springsteen, with a gritty vocal style ala John Mayer. Whether rocking out in “Never Happen Again,” kicking up a little country in “Repo Man” or toning it down on the folksier side in the title track, Rich is comfortable with his varied personalities. The lyrics also switch from humorous to emotive to flat out great storytelling.

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BC PROUD OF ALUM"S LATEST MUSICAL EFFORT

BY SHANNA ATHERTON

THE HEIGHTS:

BOSTON COLLEGE STUDENT NEWSPAPER

OCTOBER 2006

What do you get when you combine an acoustic guitar, a rock singer/songwriter, and lyrics that actually make sense? Boston College alum Rich Schroder's new CD: Your Kind Words. Due out this month, this "story-based, folk rock record" is sure to appeal to a broad base of country music fans.

The album, which is not everyday, run-of-the-mill country, is clearly the product of an interesting life. Schroder, who was born in New York and then lived in Lebanon and Tehran, Iran from ages 4 to 10 before moving back to the United States, spent the early years of his childhood in relative isolation. Apparently, the seclusion was good for him. The lack of TV and commercial entertainment he says, "fostered a sense of creativity in me." This creativity continued to develop in him even when he moved back to the States where, in high school, he picked up the guitar as "a social thing" and played in rock bands with his friends. This background gives Schroder's work a unique perspective, something that country music has been lacking for awhile. But even with that, his music goes beyond genre labels; it speaks to the heart of a person.

Schroder spent 10 years of his early adulthood in rock bands of varying success, took a break from music, and then, five years ago, decided to take his career in a new direction by going solo and doing acoustic work. Inspired by such greats as Johnny Cash and Bob Dylan, he spent two years honing his skills in writing story-based lyrics, aided along the way by his mentor Ross Adams, before beginning the three year process of actually making the album. The result of this long span of song writing exercises and recording is an album of intense lyrics and captivating melodies. "A lot of blood, sweat, and tears went into this," said Schroder.

When asked if he had a target audience in mind for the inimitable album, he replied in the negative and continued, "I'm just trying to find an audience to connect with." With the success that early reactions are hinting at, especially in the South, the Midwest, and in his local following in South Boston, Schroder's hope might well be fulfilled.

The songs that comprise the album are not for everyone. The album distinctly lacks "hey baby, baby" music, as Schroder calls it, so if you're looking for a tune to dance to or simple background noise, the Step Up soundtrack might be a better option. With Schroder, you will hear of characters so well developed that they come to life through song and the twang of an acoustic guitar. These characters, who were alternately inspired by stories from TV and newspapers, serve as a social commentary that appeals to the socially conscious mind.

The tone of the album is alternately entertaining and morose. The added band in engaging songs such as "Repo Man" (a song about a man who learns the hard way what it's like to be on the opposite side of the door when he can't pay off his debts) speak to the ironies of human life while remaining upbeat and fun. On the opposite hand, songs such as "Never Happen Again" (the single about an abusive husband to be released to radio stations in the next few weeks and already playing in 171 colleges and universities across the United States) and "Father Jones" (a soulful song inspired by the havoc wrought on the Archdiocese of Boston a few years ago) anchor this singer's first solo CD with their deep connotations and alluring, inspired characters.

For those of you who are averse to listening to something labeled "country music," I say this: "Stick it in your mouth; chew on it for awhile." Who knows? You might be surprised to find that you like what Schroder has to offer.

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SOUTHIE REGULAR BRANCHES OUT WITH NEW CD

BY PETER VAN DELFT

SOUTH BOSTON BULLETIN

SEPTEMBER 2006

Rich Schroder has been something of a Southie fixture for some time now.

Situated at The Junction bar at the high end of Dorchester Street, Schroder has played his solo acoustic sets most Friday nights since March of 2005. Performing a mix of covers and audience requests, along with a healthy heaping of his own original material, Schroder has spent the better part of a year-and-a-half playing his guitar from 7-10 p.m., honing his craft and working out much of his new material for an appreciative crowd.

Engaging his listeners and building a level of comfort between himself and his audience -many of whom sing along to his original songs-Schroder has built the kind of local following that many artists strive for.

Now, with the release of his new CD, titled "Your Kind Words," Schroder is seeking to bring his folk/rock stylings to a wider audience. Not that he intends to leave his friends back at The Junction in his wake.

"The initial reception I received was good and everybody's been great," said Schroder. "I love the people in South Boston. It's a great up-and-coming town. I have a lot of friends there. Everybody [at The Junction] has been very warm and friendly. It's just a lot of fun. Everybody's there to have a good time. When I start at 7 p.m., the people are having dinner and by nine, it's rocking."

About his road to South Boston, Schroder said, "I answered an ad on Craig's List. I played a few times for Ian Halprin, who was the manager back then, and it worked really well. I tend to get interactive with the audience and get to know them. It became a really fun thing and I think everybody enjoys it. It was good for me to work every week because, at the time, I was in the studio working on my guitar playing and vocals. There are not a lot of gigs in Boston where you can play every week." Schroder chalks up his improvement and growth as an artist to the frequency and consistency of his work at The Junction where, on an average night, he can perform upwards of 50 songs.

Schroder was born in New York. Life quickly changed for him at the age of four when his father, an investment banker, moved the family to Beirut, Lebanon to accede to work demands. From there, Schroder was moved to Tehran, Iran and later to Cameroon, Africa. Before finally moving to Boston at the age of 10, amidst the turmoil of the times, Schroder learned to tap into his creative talents for lack of other recreation.

"It was a very different way to grow up," said Schroder. "It was a little bit of an isolated experience. It's very different in terms of how people live. It's kind of desolate in a lot of ways. I think it definitely fostered my creativity. There wasn't a lot to do over there. There wasn't a lot of American TV on. I would come up with plays and stories and I developed a creative sense in me that I might not have had in more normal circumstances."

Influenced by such legends as Johnny Cash, the Beatles, Tom Petty and Bruce Springsteen, at 14 Schroder began his trek into a world of music gigs and performing for crowds, joining with some high school buddies and forming a rock band. Assembling the band Zen Lunatic after college, Schroder and his mates produced a couple of CDs and went on tour. The band ended its run in 2000 with moderate success and Schroder opting to move on.

"I learned a ton and it helped me to understand how writing music works and the business of music," said Schroder. "[The members of the band are] still very good friends of mine and have been since high school. There are pros and cons to going solo and pros and cons to being in a band. For instance, when I drive to Portland or some other destination to play, it's just me. That's good in one way, because you don't have to worry about scheduling everyone. But there's a loneliness to it. The positive side of a solo career is that you make all of the creative decisions. But, [the band] was a great training ground and for me, as an artist, you're always trying to improve your craft and I learned the first steps."

Working with long-time producer and friend Ross Adams, Schroder began the process that would remake him as a stronger songwriter and move him closer to his first solo album.

"The toughest part [of the process] was realizing that I really didn't know my craft as well as I thought I did" said Schroder. "Working with Ross gave me a completely different perspective. He got me to study songwriting technique and lyrics. I took a big step back and he started to teach me the craft with regard to lyrics, harmony, and melody." Eventually, they began working toward the goal of completing and releasing a compilation of Schroder's efforts.

"This album took five years to make," Schroder said. "I took two years just to write the lyrics. I did all the lyrics before I did anything else and this was a very different way for me to write. Songwriting is hard. I rewrote the songs dozens of times. For instance, one of the songs-'Father Jones' - was rewritten 24 times. It's a complex character and I wanted to have an accurate portrayal of what I felt people were thinking. The rewriting process was hard and it opened my eyes about what it takes to do it very well."

"This album features storytelling in the folk tradition," said Schroder. "A lot of it came from things I saw around me. 'Father Jones' is based on the Boston Catholic Church sex abuse scandal. It was obviously very disturbing for everybody. I wrote that song to be from the perspective of what it might be like to be a priest in the church at that time.

According to Schroder, that hard work has paid off with a couple of songwriting awards. Showcasing his other dimensions as a songwriter, Schroder has also penned a few works with a more upbeat bent. "Hillbilly Makeover" and "(Sorry That I'm Not) The Home Depot Type" offer a lighter take on some of the day's issues.

"We're really working on getting out this record," Schroder continued. "We've put a lot into it and we're marketing it to the best of our abilities. I'll be playing in two to three weeks regionally. I'm in Portland in a couple of weeks and then I go to Portsmouth, Rhode Island, and Providence, through Connecticut. The neat thing about being in Boston is that you can easily cover five or six states."

"I think the next six months to a year is about getting this album out to people and seeing if I can find an audience and whether any one likes it," he continued. "It's the best work I've ever done. I'm trying to get people to hear about it. I want to try to find people who like and respect my work. If it's a large audience, great! If it's smaller...well, that would be great too."

Residents can drop by and see Schroder at The Junction (110 Dorchester St.) on Friday nights from 7-10 p.m. You never know. Someday soon, you just might have to buy a ticket to ever get this close again.

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SCHRODER GOES SOLO, PLANS PORTLAND SHOW

BY LUCKY CLARK

THE KENNEBEC JOURNAL / THE MORNING SENTINEL

SEPTEMBER 2006

Boston singer-songwriter Rich Schroder will be making a stop in Portland at a venue called Spring Street Saturday evening. Recently reached at his home, Schroder was more than happy to chat about his music and other related topics.

"I'm starting to tour around the region a little bit trying to build up a fan base in different places -- this is my first time going up to Maine with my new record. I have my car and my whole rig so I can basically set up anywhere. I have a band on the record," he added, "but I found it was easier to navigate when you're on your own -- I don't need to check with other people to play a gig."

While in Zen Lunatic, the guitarist's previous band, he always wanted to take his music to another place and these higher aspirations were easier to follow on his own. Schroder added that he does, at times, miss being in a band, especially when it comes to touring. "Driving on your own is the down-side of it," he laughed. "You don't have anyone to hang out with, but I meet a lot of great people and I think, in some ways, it's probably better because you're forced to be social."

As a band member, Schroder used to write songs on his guitar and just do it instinctively. Lately, he's been working on honing his craft. "I went back to my longtime teacher and mentor, Ross Adams, and I basically said, 'I don't really understand the process of it!' He told me that I needed to study and learn the craft of songwriting."

That began a two-year project where they just wrote lyrics to all the songs on the album, "Your Kind Words," which is due in October. "I didn't write any music for two years, I just wrote lyrics. We wrote and re-wrote and I learned how to make things happen that way."

After the stories and lyrics were all set, the next step was to create the melodies and set the words to music -- and then they spent the last year recording songs. "It's been more elaborate than just sitting down with the guitar," Schroder said in conclusion. "It was really eye-opening to understand all the parts of it. I just try to get a little bit better every day -- that's all I do with my music and this work."

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A NIGHT WITH RICH SCHRODER AT THE JUNCTION

BY MIKE PATTERSON

THE IRISH EMIGRANT

MARCH 2006

For the past year, The Junction in South Boston has been home to entertainer Rich Schroder who on most Friday night’s holds sway over the bar and its patrons. Mixing a blend of popular covers and original material, Schroder sets the ambience and color for the evening with his personal appeal and down-home relaxed manner.

I caught his set one Friday night, and had the opportunity to talk to him between sets and the demands for his attention from his audience.

MP “Great set, Rich. I loved your choice of songs. How do you choose your material?”

RS “By talking to my audience, learning material they like, and handing out my song list at each gig.”

MP “Your set was almost all requests. I don’t usually see other artists do this.”

RS “I want my audience to hear what they like, so I let them set the agenda.”

MP “I noticed that you really connect with them. You seem to know almost every one in the club by name. They sing along to all your songs including the originals. That’s unusual.”

RS “You know, the people at the Junction are great. Since I began working here, the whole bar staff (Ian, Brian, Marissa and Beckie) has been very kind to me and easy to work with. Because of this I look forward to playing at the Junction each Friday. This also helps set the vibe for me in the club, so I can play my music and connect with all the great people who come here.”

MP “It really looks like you and your audience are having a good time. I had a ball myself. And everyone is extremely friendly.”

RS “Yeah, the Junction is a great place to play and hang out. We are all down to earth.”

MP “Rumor has it that you are finishing up your first recording. Is it true and if so, when is it coming out?”

RS “It’s true! It’s called ‘Your Kind Words’ and is almost done. All the music is recorded, mixed, and mastered. We are now working on the artwork, and it should be out in a few months. It’s all my original songs, many of which I worked out and play here at the Junction. I can’t wait ‘till it comes out and see how people here like it.”

Rich Schroder plays every Friday night from 7 PM - 10 at The Junction in South Boston. He will be playing St. Patrick’s Day at The Junction on Friday March 17th, from 8 PM - 1AM.

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"CONVERSATION WITH A SONGWRITER"

BY SCOTT LEVINE

INDIEGUITARISTS WEBZINE

MARCH 2005

This fall Rich Schroder returns with Your Kind Words, his first solo release with veteran rock producer Kenny Lewis (Michael Sweet, Stryper, Northern Lights, Vassar Clements). The album showcases his craft as a singer-songwriter, with topics ranging from the Catholic Church sex abuse scandal to social commentary on American pop culture. Below, Schroder speaks about songwriting, failed relationships, growing up in the Middle East and being a solo artist.

You were in a successful band for a while, how does it feel to be on your own?

It’s been a big adjustment. Not just the performing aspect, but also making all the decisions, creative and otherwise for my career. Working alone certainly has its own challenges; though, right now I don’t miss the band dynamic of having to build consensus or making decisions by committee. Now I get to screw things up all by myself!

What was the writing process like on this album?

It was time consuming, rigorous, frustrating and emotionally draining! This has been the most difficult thing I have done in my life to date. I always had ideas for songs but no real process to develop them. Basically I was lost, and this album helped me to build a structure to create in.

At first I tried some collaboration, writing with other people. But finding someone with the same work ethic and sensibilities was difficult. I eventually hooked up with Ross Adams, my long time music mentor, who taught me about the craft of songwriting.

This album is radically different from your past work in Zen Lunatic. Why did you change the writing style so much?

My old writing style wasn’t working for me anymore. I don’t even know if you could call it a style. I primarily built songs around guitar riffs and in a couple of hours the song was done. Initially I was happy working this way, but after six years of writing like this I needed to try something new.

Approaching songwriting from a compositional standpoint, where I had to first come up with a good set of lyrics and then set them to music was a very different approach. I found out that there was a lot to this songwriting thing that I needed to learn about.

Today it can take anywhere from 3 months to 3 years to write a good song. I don’t stop working or rewriting a tune until I feel that the essence of the song is right, that my message is clear and that the song is well set musically. It’s challenging but really rewarding when a song is finished.

What inspires you to write songs?

Irony. People. Struggle. Humor. Love. Everyday life. Situations. As an artist, I try to study humanity and reflect it back to the listener from my point of view.

Tell me about your characters. They are a colorful cast – each struggling with his / her own situation. Where did you find them?

Basically, from everyday life. I drew them from my own experiences, news stories, books, popular culture, and even reality TV.

Who is your favorite character on the album?

Though tragic, I’d have to say the two characters in “Me and Cousin Willy.” I also enjoyed writing my female protagonist in “Never Happen Again.” Writing a song from a female prospective is challenging.

You spent a considerable amount of time growing up in the Middle East. Has this experience impacted your writing?

I am still trying to figure that out. I was born in New York City and my father was an international banker. So from 4 to 6 years old I lived in Beirut, Lebanon, and from 6 to 10 I lived in Tehran, Iran.

Growing up in these places was a very isolating and scary experience. I had few friends and not many people around me who were my own age. Both these cities were violent and dangerous. I remember hearing gunfire daily and bombs going off. Our driver carried a machine gun with him for protection.

I’m sure all of this stuff has affected me in ways I am not even aware of. Perhaps that is why I write about the human condition.

Some of the songs on this album have stark themes. How did you come to write “Father Jones”?

The Catholic Church sex abuse scandal disturbed me greatly. I read an excellent book on the subject called “Our Fathers” by David France who chronicled the situation. I felt compelled to write about it. At first, I was uncomfortable playing this song out but have had many positive responses to it. Most people feel it is tastefully done.

What made you choose to cover the Morphine song “In Spite of Me” on this album?

I’m a big Mark Sandman / Morphine fan. I like hearing and playing a good cover song and this one fits my sensibilities. It’s a good opener for me, and one of the few Morphine songs that doesn’t have a sax part, so I can play it using just an acoustic guitar

There’s some social commentary on this album with songs like “A Hillbilly Makeover”. It seems like reality TV shows were the inspiration in this case.

For a while last year I was hooked on those makeover shows. It seemed like there was one on every night and I was captivated and appalled by the people involved.

We tried writing this song from numerous perspectives like “I look like crap, fix me”, or “I want my woman to look like that” but none of them worked. One day we were goofing around and tried setting the song in the old shit kicker “Hillbilly” style. The humorous rendition was much better and seemed right for the song, though it opened us up to the criticism that we were being insensitive. Don’t get us wrong we love hillbillies!

Speaking of humor, “(Sorry That I’m Not) The Home Depot Type” is hilarious. How did you come up with that one?

I am comfortable admitting that can’t fix anything around the house; I’m all thumbs. This seems to be a common predicament among men, more than one might think. Many wives in the audience point to their husbands when I play this song.

“Your Kind Words”, is different from the other songs on the album, it seems more personal?

Absolutely. “Your Kind Words” is my most personal song to date. I wrote it when I realized the power that words, especially negative words had on me.

Where do you go from here?

I am working on finding an audience for these songs. That means playing them for as many people as possible. By doing this I hope to gain interest in my music and in what I have to say.

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"MAKING IT ON HIS OWN"

BY MATHEW ROBINSON

THE BROOKLINE / BRIGHTON BULLETIN

DECEMBER 2004

Writing a good song takes an understanding of the human heart and mind and only a select few ever achieve their goals. One such star-on-the-rise is local singer / songwriter Rich Schroder (www.richschroder.com), who was recently named a finalist in the Song of the Year Songwriting Contest. (Song of the Year is an international contest that supports VH-1’s Save the Music Foundation.)

“I have been interested in the Save the Music Foundation for a while and it was great to win the contest," he says. "I am a big music fan and I love playing, and being acknowledged in this way is very special. The VH-1 program helps young artists by supporting school music programs around the country.”

The award-winning song is called "Never Happen Again", and talks to the cycle of violence that tends to be passed down from generation to generation. "I wrote this song from a female's perspective to portray the issues involved in an abusive relationship and to illustrate how hard it can be to break free."

As a former member of a successful band, Schroder knows how hard it can be to break free from any relationship. "It was a big decision to go off on my own," he says, "and it appears to be paying off."

Schroder’s songwriting career officially began in 1996 with the release of Zen Lunatic’s debut album "Eleven Days In May," which was produced by Michael James (who also produced such great Rock bands as Hole, L7, and Jane's Addiction). Nominated as Best Local Rock Band in 1997, Zen Lunatic toured extensively up and down the east coast opening for bands such as Heretix, The Bogmen, and fellow local heroes Guster.

"I wasn’t getting the kind of success that I wanted," he explains, noting the difficulties involved with getting all members of any band to work together and head in the same direction (musically or otherwise). "I want to make the best songs that I can, and I needed the flexibility and the autonomy to write what I wanted to write. So, after a lot of debate and discussion, I decided to try it on my own and to focus on my own personal development."

The result of Schroder’s musical transformation is his forthcoming solo debut, which is due out early next year. "We did a lot of shopping to producers to figure out what kind of record we wanted to make," he explains, "but in the end, we came out with an album that is true to what I am and to the songwriter tradition."

Before moving to Brookline, Schroder lived in New York, Beirut, Tehran, and spent time in Cameroon, Africa. "From age 4-10 I lived in the Middle East," he recalls. "My dad was an international banker, so I spent a big part of my early life over there.” These experiences afforded Schroder an opportunity to get to know people from all sorts of backgrounds. "I have always been interested in the human condition and in what causes people to be who they are. All that travel allowed me to meet lots of different people, which has helped my songwriting." Schroder’s family eventually came back to the states, where Rich attended Brookline High School, Boston College and Babson College where he earned an M.B.A.

"After college I played music for a while," he recalls, "but it was tough to make it. I decided to focus on a business career but after years spent as a consultant I decided to devote myself completely to songwriting and performing.”

"I think one of the reasons I did so well in the Song of the Year Songwriting Contest is that I spent a huge amount of time working on these songs" Schroder says, recalling the dozens of rewrites that his creations went through. "I have really been focusing on and learning the craft of songwriting."

In addition to spending a great deal of time with his music, Schroder also spent years working with his musical mentor, artist/producer Ross Adams. "I began studying with Ross when I was 14," Schroder says. "A few years back, I realized I was not getting to where I wanted to be, so he advised me to commit. Now I study with him four to five hours a week which has helped me to understand what goes into writing a great song."

When not working with Adams, Schroder is touring and performing throughout New England. He has played at venues such as Club Passim, The Cantab Lounge, Sit N' Bull Pub, The Irish Village and, ironically, The Middle East.

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Recent Reviews

"..."Father Jones" is a terrific, eerie folk song with perfect music. Subtle and chilling. Talented work!..."

2005 Great American Songwriting Contest - Judge

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"...There was a great lyric called "Lincoln Park Pirates" by Steve Goodman who also wrote the classic hit "City of New Orleans" that reminds me a lot of your song "Repo Man" in vibe and essence. The point is this WAS excellent and your lyric IS just as excellent now. So to share this with you means you have my utmost respect for your work, and you're in legendary company!"

2005 UNISONG Songwriting Contest - Judge

Finalist

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