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Interview with Cedar Burnett - in Navarre Observer

Delivered to hundreds of music retailers nation wide - February 2004

Q: A lot of your songs seem to revolve around social and political commentary. Do you like to use your songs as a forum for this sort of discussion, or are these subjects just what inspire you to write?
A: I think the topics I choose are part of my evolution as a writer and as a human being in general. As a young man I was concerned with the same things that many average young men are concerned with; women, party-ing, material possessions, and so on, and that's what I wrote about. I guess it served as a chronicle for that point in my life. Later as I got more and more into songwriting, I tried to become "introspective" as the great songwriters are, but found that as my own subject mater, I'm really quite dull. I'm not from a broken home, I didn't grow up in a shanty town, never been sexually molested. Not much grist from the mill here. I did have a long love affair with alcohol, but how many drinking songs can one person write? As I've gotten older, married, and now a father, the things that concern me have changed. I want straight answers from my leaders. I want to know who's really running this place, and what they're doing with all the money. I want to know what kind of a world, not just my daughter, but everyone else's son and daughter is going to inherit. These are the things that keep me up at night now.

Q: Have you found many musicians out there lately whose songs have had a political bent?
A: No I haven't. I know of a coalition in New York City called "Bands Against Bush" which piqued my curiosity, but I couldn't find out much about the bands involved or what their music was like or even if they are about anything beyond being against Bush. I think most artists wouldn't touch politics with a ten foot pole, especially the monetarily successful ones who have entire conglomerates at stake. Take for example the Natalie Maines / Dixie Chicks incident. A simple non-violent expression of political opinion, a freedom we all share as Americans, got the Dixie Chicks backed into a corner by the radio and television media, who have basically become the white house press office, and had them issuing apologies and recanting the statement. Even the Stone Cold Pimp Kid Rock himself, someone you would think would say anything has said politics and rock and roll are like oil and water. I guess that's true if you want to go multi-platinum.

Q: Have you drawn any flack for your subject matter or has your outspokeness been well received?
A: To be honest with you, so far it's been surprisingly positive. We had been playing the songs from Discorporated live for a couple months to work them out, and people would come up to me afterwards and ask about the lyrics; what did you say here, and what did that mean; Even in a loud smoky club, they really got involved in the commentary. One guy told me he felt like he got a dose of the New York Times. That one comment from a stranger, really gave confidence in what I was doing. I thought if this guy gets it, even through the garbled PA at this bar, maybe some other folks will get it too. I've just got to get out there and find them. But at this point, I'm still preaching to the choir, and I can't help feeling that the pats on the back are more out of pity, like they know something I don't. Like I'm destined to be fodder for the cannons. I do expect plenty of backlash, once the album starts making it's way into not sympathetic ears. Sort of like the "who the hell are you" that actors get when they take political stands.

Q: What's the significance of the sun on the cover of your album? I noticed it's the symbol on your necklace too.
A: I wish I could tell you it had some kind of mystical connotation, or it represented my blah, blah, blah. I just thought it looked cool. We can make something up. How about, It represents the rude awakening of the truth when you pull the wool from over your eyes. Not bad. The necklace was a gift from my mother, at the center of the sun is an old coin with the profile of Alexander the Great on it. I just wear it as a reminder of my heritage. Buy the way, I'm so afraid of what Oliver Stone is going to do with this Alexander movie.

Q: What does "Kimon" mean? Is there a story behind your name? A: Again, it goes back to my "proud" Greek parents. Kimon was an historical figure, an Athenian general and statesman around 450 BC. Most Greek parents give their children religious names like George or Peter. I got the ancient Greek name. Try going through the fourth grade with that name. And you don't want to know my last name.

Q: I know a lot of bands hate being compared to other musicians--so I'll give you the opportunity to speak for yourself. Who do you think you could be compared to? Who or what are your musical influences?
A: Yes, we hate being compared. Actually, I wouldn't want to insult any artists by comparing myself to them. As far as musical influences, now you've opened a can of worms. Should we start with the Glam rock, or my guitar god phase, or the day that changed everything when I bought that Sex Pistols record. Then there is Marley, unique among artists.

Q: In light of you singing about consumerism on your album, was the decision to use Times Square, one of the major symbols of gratuitous spending, as your album art a complete tongue-in-cheek irony?
A: That was exactly the idea. The Times Square I grew up with was a dump, dope peddlers, prostitutes and peep shows every few yards. It was dirty and smelled like piss. I loved it. It was an adventure just walking from 8th to Broadway. It's great that it's all cleaned up now, but, like Giuliani had said, it took a mouse to chase away the rats. It's Disney Land. There is not one square inch from Port Authority to 58th street that is not covered by some plastic back-lit corporate logo. It's like Vegas. It took corporate criminals to get rid of the mob, and now everyone gives you that fake welcoming smile. At least in the old days you knew where you stood with someone.

Q: What made you take up music?
A: I was a kid. I thought it might get me chicks, and I couldn't catch a football.

Q: What are your future plans?
A: I'm really just trying to get through day to day, and keep from getting our heat and telephone turned off. I mean, we're doing ok, but just like everyone else, I got a wicked credit card balance that I've been trying to pay off for a couple of years, I've got to have the latest cell phone, and we like to eat out once in a while. That right there plus those collection people that keep calling will kill a good pay day, never mind adding a new daughter to the equation. Oh you mean musically? My goal is to just keep making records no matter what happens. One after the other. I'm lucky to have a good label and distributor right now, but the rug has been pulled out from under me before. Ross Perot's big quote was most people give up just as they get to the one yard line ready to score a touchdown. I don't know about the touchdown, but I know I've been doing this way too long to give up now.

Q: What's in your cd player?
A: I've got Seal IV, can't get enough of that guy's voice. Got the Essential Clash greatest hits collection, that was a no brainer. A band I recorded in my studio turned me on to Sparta. I think they're one of the tougher new bands. I broke out my old Zeppelin albums to see if I can lift some Jimi Page riffs. Why not right? What do these kids know these days anyway? My wife's got me listening to the Gypsy Kings. And of course, every night we all fall asleep to baby Mozart.

Q: You've been through a lot of incarnations with several bands, namely Psonica and Fear of Falling. Is being a solo artist a more comfortable fit for you, or do you see yourself morphing into another band at some point?
A: Unless something goes totally awry somehow, or some incredible offer comes up, I don't see myself in another band. I've got my buddy Rob Savoy playing drums, who we played in both Psonica and Fear of Falling together, and Paul Pinnock on bass who we feel comfortable playing with, so it feels like a traditional band situation in many ways. Ask anyone who has ever been in a band and they will tell you there is one or two guys who do all the work and the rest who complain. I always felt like the guy who did all the work, so that was a big reason for setting out as a solo artist. Plus now, I've really spent serious amounts of time writing these songs, and I think I might be on to something. I'd like to see where it leads.

Q: Is this new album more of a continuum of your first solo album, or do you see it as a departure? If so, how?
A: I think with the first album, I made a conscious decision to try to tackle more adult themes, and to try to raise the bar in my songwriting. And I think I even started developing my own sound as well. So I guess it put me on the path to what would become the Discorporated album. I would say it's neither a continuation, nor a departure, from the last album, I think it's a big step in my evolution.

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