When I was a kid, I always tried to play around with my dreams. Sometimes
I could control things, sometimes not. But, when I actively tried, I couldnt
anymore. Then I reached a certain age or a certain level of self-awareness, where
that ability was switched off. When singer/songwriter Carey Ott was penning
his Dualtone debut release, he had a dream, reminiscent of his childhood that
was just as enigmatic as his elusive personality. In it, the Chicago born/Nashville
transplanted tunesmith saw a sequence in which he was falling, but instead of
hitting the ground, he bounced back gently under a trance of complete weightlessness.
Such a fearless ricochet in his sleepy state translated to reality when he awoke,
and it became the centerpiece of his latest creation.
The dream was
unique and affected me in a profound way. I woke up feeling so comfortable and
unafraid. I had heard somewhere that if you hit the ground in a dream, it means
youve died, so when I bounced and floated in this one it was strangely reassuring.
Like dreams, most of my songs come from the subconscious, so the title seemed
to work on a couple of different levels.
Ott spent years as front
man and writer for the windy city based band Torben Floor, an alt rock outfit
from the late 90s/early 2000s that frequently toured the local Chicago scene and
greater Midwest region. After playing the lauded likes of clubs like Metro, Schubas
and DoubleDoor, along with festivals like Austins annual SXSW Festival,
the guys were courted by many indie and major labels. Though the attention left
the players hopeful of hitting the big time, there was a swelling atmosphere of
cynicism and doubt lurking in the wings.
We had a lot of meetings
in big offices on the coasts and it became the typical story where label executives
were blown away one day, then working for a different label the next.
Ott recalls of the tough times. They would talk about big plans for us,
fly us out to L.A. for showcases, spend a bunch of money, and then say they didnt
hear a single. But none of them ever committed to what I was doing, so in between
playing the waiting games, I was waiting tables. I became very disillusioned with
the whole thing to the point where we finally disbanded the group and I put my
dreams of grandeur on hold.
Luckily for Ott, the continual letdowns
werent without some solace, found primarily in fellow Chi-town musician/producer
Ed Tinley (Ike Reilly Assassination / Liz Phair). The two met through Otts
time in Torben Floor and clicked creatively to the point of teaming for frequent
session work together. Careys manager, Gary Taylor, eventually passed a
demo Ott and Tinley made for a west coast major onto Nashville producer Ray Kennedy
(Steve Earle, Ron Sexsmith, John Mellencamp), who also expressed interest in working
on the project.
Ray loved it but, more importantly, he understood
it. He shared it with Dualtone and they were really excited, as well. Ott
uncovers. Then the whole courting process began and folks from the label
flew out to [the Chicago club] Subterranean to catch my set. They saw enough in
me from that night that they wanted to move forward. And with that, Ott
packed up his stuff, drove south to Music City and set up shop with Kennedy and
Tinley in the studio to create Lucid Dream the album. The result is a dozen choice
cuts characterized by Otts engaging vocals, ethereal undertones and sub-conscious
confessions that represent various situations taken from his experience and from
experiences of those close to him. Its a perfect project for fans of Elvis
Costello, Jeff Buckley, Wilco and the sea of British-based alternative bands,
yet theres something still uncannily original in this scribes storytelling
through song.
If I could choose a legacy to leave it would be as
a good old-fashioned, working-class songwriter. Ive worked with and met
such great blue-collar people who consistently put in 100 percent and do it with
a smile, no matter how menial or thankless the job. That is a gift.
He
explains, Although what I do musically may be more specialized and a bit
more thankful at times, it isnt any good unless I work hard at it.
And that emphasis on song crafting is exactly what one takes away from an initial
spin of Lucid Dream, starting with the delightfully melodic Daylight,
the acoustic coziness of Hard to Change and the insanely infectious
I Wouldnt Do That To You. Am I Just One takes on
a easy going, Brit-pop approach, Virginia slides with tenderhearted
minimalism, while Its Only Love resounds with anthemic guitar
jangles and summertime simplicity. I was given these antennae in my brain
that take in all sorts of information, from what people say to books to films
to whatevers going on in my life. I grab a guitar and subconsciously sculpt
all these random thoughts and vibes into something I can enjoy. Then the work
begins, he muses. Im thinking of that John Lennon song, a
working class hero is something to be. I love songs like that. They dont
sugarcoat, theyre not afraid to be honest, but there is some hope in there,
too.