Uncommon Ground ^ Dick Prall

Dick Prall
Authenticity’s a term that’s grown increasingly inaccurate in a music culture dominated by pre-fabrication and constantly contrived falsity. But even in the midst of the climate’s surrounding bleakness with a mentality to water everything down to its blandest base possible, troubadour Dick Prall is the direct antithesis. On his latest White Rose Recordings release fizzlebuzzie (and return to solo ranks) the former Starch Martins front man embodies qualities like sincere songwriting, unadulterated singing, a damn fine troupe of instrumental backers and an uncanny ability to artistically satisfy without the industry’s outside influence.
“There was never a time where I wasn’t genuine in my songwriting, but now I’ve come to the point where I’m much more comfortable in my own skin,” says the Sheffield, Iowa bred/Chicago transplanted tunesmith. “The biggest difference in the new record compared to the others is the fact that this has a real flow. I didn’t care if a song rocked enough or was pretty enough. That wasn't always the case in the past because I often doubted my own judgment, but I think all the length between albums brought me to terms with the fact that I didn’t have to do anything other than be honest with myself.”
Considering it’s been four years since Prall released a project of any kind (then it was under the guise of Starch Martins), the anticipation level of fizzlebuzzie has been raised to much greater heights. Spectators are likely to recall that project’s infectious single “Sunshine Came” and cast of all-star players (including Wilco drummer Ken Coomer), which was a fitting follow-up to 1998’s Dick Prall Band release Somewhere About Here. Across all incarnations, Prall scored critical kudos in the likes of the Chicago Tribune, No Depression, Illinois Entertainer and Nashville Scene, plus tour credits with Toad the Wet Sprocket’s Glen Phillips, Ari Hest, The Verve Pipe, Michelle Branch and Soul Coughing’s Mike Doughty. He can also be found with Starch Martins on the Aware Records Aware 9 compilation (also featuring Jack Johnson, Bleu and Wheat).

"I’ve clocked in enough time and I can say I’ve seen a whole lot of how this business works on all sides,” Prall observes of his previously encountered whirlwind. “I’ve also learned what isn’t important to me and that’s the need a lot of artists have to justify their existence based on their level of popularity. A lot of people have been waiting for me to come up with something new, but I didn’t allow their expectations to consume me. All I can promise is an album born out of sincerity and the desire to create something that I personally love."

Despite the extremely personal nature of this fresh batch, Prall effectively succeeds in bringing to the surface his own ideas and experiences, while simultaneously providing elements to which all can relate. Take for instance “Saturday’s Changed,” in what its writer refers to with a laugh as his “growing up sucks” anthem or the lead character’s habitual wavering in the dizzying “Learning to Merge,” both of which resound with Prall’s reassuring pipes and players’ inviting earthiness. There’s also the unconditional ode to a lover on “Book of Songs” and the sad but beautiful passion one man hides for a girl already in the grips of another in “Great Admirer.” In addition, it’s impossible to ignore the infectious snapshot that “Grand Marquee” develops for any listener whose musical tastes precludes the reign of music videos and karaoke contests.

Besides such meaty messages, key players include bassist/guitarist Brian McDonald (Alice Peacock, Starch Martins), drummer Greg Miller (Drive, Telemundo), keyboardist Sarah Ferguson (Secret Girl, Bogo) and guitarist Paul Stebner (Starch Martins). Additional contributors consist of Alison Chesley on cello and Max Crawford on trumpet (both of Poi Dog Pondering credit) plus saxophonist Nate LePine (NRG Ensemble, Manishevitz, Smog). fizzlebuzzie was produced and engineered by Colonel J. Shapera, who’s worked with a sea of diversity over the years, spanning the likes of Remy Zero, Verbow and Drive.

"Brian and Colonel really helped me get what was in my head out on CD,” Prall says of his production mates. “And the band was absolutely incredible at executing all the sounds and gelling together texturally. We all feel like we made an album that we wanted to hear.”

Rather than catering to the mainstream’s quest for perfection or getting caught up in petty comparison games with peers, Prall is channeling all energy to relay fizzlebuzzie and the veracity stocked inside. "I’m happy that nothing’s over produced or overdone and there’s been an incredible freedom not feeling compelled to please anyone,” Prall summarizes. “The only thing assaulting your senses are the melodies and the mood of each song. This was first time I’ve been able to accomplish a record that reflects how I’d envisioned it. That made for the best experience – and most fun – I’ve ever had in the studio.”

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