Singer-songwriter Emiko’s latest release, “Great North Road” took a journey of 10 years from the writing of it to its release. Along the way, she would discover what it took to self-produce and record a song, what it meant for her to become a studio owner, and how her perspective changed on being both a producer and being in business for herself while taking her career into her own hands.
I recently interviewed Emiko in-depth about her self-discovery in the studio, the background story of “Great North Road” and its meaning, the evolution of her production process, her album “Fighting Underwater”, and much more.
Congratulations on your new single, “Great North Road”. Explain the journey this song has taken beginning with writing it 10 years ago to releasing now.
Thank you so much! I wrote the song while I was living in England – pregnant with my son. I moved there with great hope for a new chapter in my life but soon discovered that the circumstances of living there in my then situation were very unhealthy and soon became abusive. I only bring this up because this realization paralleled my reason for writing the song. See, after living in London, I moved up north to Leeds but found I still had to go down to London very regularly, which meant traveling this one particular road, the A1. The A1 is one of the oldest roads in the UK and is a main artery connecting south to north and back. It was built by the Romans when they came over and as I would travel it – sometimes twice a day (and it’s 191 miles from Leeds to London, one way mind you!) I had a lot of time to think. I remember thinking and imagining what must have been going through the minds of the Roman soldiers as they marched the very same path on foot and I came up with this dialogue in my head – one soldier turning to another marching next to him and saying out of the corner of his mouth, “This is NOT what I signed up for. The first chance I get, I’m on the next boat back to Rome,” and so the conversation would grow from there but that was the crux of it. I spent a lot of time wondering how many Roman soldiers went over to England on boats being told their missions and their jobs were one thing – given false hope of what would be meeting them on the other side and then once arriving, realizing it was too late and getting horribly homesick. That’s what the song is really about at its core – the idea that home – true home, is a really powerful concept. It’s not just where you lay your head at night. Home can be a comfort, a set of values, the path to your dreams, your loved ones and so much more. And leaving home for a better life is a big leap of faith.
I did start to perform the song a bit after my son was born, both in England and in the US but stopped performing it when I finally had to leave this abusive situation I was in. It was just too painful because I realized how close to home the song actually hit for me (no pun intended). But I started thinking toward the end of last year about the beginning of this new decade – starting anew, starting from a place of strength. I always loved “Great North Road” as a song and felt it really deserved to have the best life possible so I decided to record it, more for myself than anything but apparently, it really resonates with a lot of people so I’m glad it happened.
What was it about texting with your guitarist while sitting on a bus from Washington DC to NYC that made you randomly decide to record the song?
Goodness! You have done your research if you know that’s how the decision was made! Yes, I was on the bus going from Washington DC to New York feeling very introspective and, to be honest, somewhat depressed. I had just gone through a series of events that resulted in my feeling like I was stalled somewhat and I realized I had to push through it. Honestly, I started texting my guitarist just to kill some time and take my mind off of things but we got on the topic of “what’s next” and I had to pull something out of thin air pretty quickly so I said we needed to record a single. He asked me for a few choices and “Great North Road” was one of them. We both felt that was the best one to start with, and honestly, the more I listened to the demo version I sent him, the more I knew in my gut the time had come to let that song fly and have the life it was meant to have.
I’m so glad we decided to go for it because the song charted at #1 on one of the radio charts in the UK and is climbing and spreading all over Spotify. Plus, as an artist, it really feels like a weight has been lifted. I knew I would have to face all the demons I had buried when I wrote it and making a firm commitment to record it allowed me to take back a certain peace of mind.
Why did you decide to release this song globally and through a major distribution company (AWAL/Kobalt Music Group) for the first time?
I had actually signed to AWAL a couple of years ago but my catalogue was tied up with previous deals. While I’ve had good experiences with all my music partners, I was excited to see what AWAL could do. Also, being that “Great North Road” is about my time in England and AWAL is based there, I thought it would be fitting to start with that song!
Explain your production process.
Actually, my production process has changed a LOT! It used to be the classic:
- sketch out a demo of the song
- Send demo and charts to the band
- Go into the studio and start tracking drums and bass first
- Then guitars and keys
- Then vocals
And now it’s a whole mix of things. In the evolution of my process, I’ve found there really is not a wrong or right way to produce. There are only more or less effective ways to give the song or album the life you want to give it. There are times I actually record drums last! A great example of that is “Great North Road.” We had tracked everything. Guitars, keys, bass, strings, and most of the vocals and while we had a loop running to keep time, I wasn’t thrilled with the type of drums we were coming up with so it wasn’t until the end that we got the drums recorded. And you know what? It actually worked out really well because the vibe of the song was already there which allowed our drummer to elevate it even further. Specifically, in recording GNR, I learned that while the drums are traditionally recorded first because they are the backbone of the track, sometimes they should be recorded after the song’s breath and vibe are solidified by other instruments.
We put a lot of stock in drum tracks especially with live drummers and sometimes you can get a better performance from them once the rest of the track is done.
That’s just one example. I could go on and on because, honestly, there are so many ways that my production process works. And it’s different live tracks vs. samples, and film scores vs. other stuff.
In terms of the more esoteric side of production, I’m a pretty realistic producer. I believe in encouraging the artist but I also believe in being honest with them about any areas that need work. It’s not enough to get a good take out of them. My role is to get the best take out of them and then get an even better one than that! When people come to me with their projects, it’s because they want to be pushed to grow – not just to record and document their music.
There’s a physicality in the way I produce as well. The artist needs to be able to feel the music – not just inside, spiritually or emotionally, but in a tactile manner as well. A great example of this is when I had an artist singing about a message she left for her ex, I printed out a photo of the guy and taped it to her mic stand. And I handed her an old fashioned phone receiver to hold up to her ear as she sang. At first, she felt silly doing that (totally understandable), but ultimately, it pushed her to get her performance to a very REAL place and that ended up coming through beautifully on her recording. I want to give my all to the artists I produce so they can give their all to their listeners and fans. And sometimes, that means some wacky and out of the box production methods.
What have you learned from producing and recording this song on your own?
The two biggest lessons I learned in producing Great North Road on my own were this:
1. The buck stops with me. I had to learn to be really objective and subjective – often simultaneously. Before, I thought I was but boy oh boy was I wrong! When the buck stops with you, you learn really quickly and all of a sudden how important quality control really is.
And 2. Maybe just as importantly, or more importantly, I learned to be secure in my ownership of my position. Producing someone else is comparatively easier, at least for me, but producing my own music, especially with a team working with me meant they were looking to me for my direction as an artist and producer. I had to learn to get very secure and balanced in what that meant. As a producer for other artists, the role is clear. But as a producer who IS the artist, it’s more involved because the only person you’re really fighting with is yourself, haha! But that also means that unified decisions made while wearing two hats can be that much stronger so your commitment to it has to be very clear and very direct.
That’s the ownership part. I also had to learn to be very self-critical and self-correcting – never allowing myself to slide into that “good enough” place. It’s easy to crack the proverbial whip when it’s someone else’s performance but when it’s your own, you have to learn to be super honest with yourself. And, I would come home, night after night and be more emotionally drained in this particular recording process more than any other, I think because I was producer and artist in one.
Explain further on how your experience gave you a great perspective on self-producing and being in business as a studio owner, having your own resources, and not being dependent upon someone else, versus having a producer?
Good question! The biggest takeaway for me, at least so far, I think, is that there are NO EXCUSES as to delays or not putting out new music. Owning my own studio allows me to have a space dedicated to the creation and production of new songs on a daily basis. Period. This gives way to lessons in budgeting, scheduling, and various relatively brain-numbing administrative tasks which have to be done, but I do them because I love owning my own studio. I made a decision a while ago to keep my space balanced between the work I do and the work I do for others. There was hardly a point to me owning a studio that was booked out 100% of the time by other artists and clients. I wanted to make sure my own creativity was served there – and that in turn has actually given more artists reasons to come in. I act as our own calling card. They see and hear the successes my team and I have in my own artist career and that serves as encouragement and a sort of proof in the pudding for them to book their projects with us.
Your album “Fighting Under Water” that is being produced by the legendary Bruce Robb at famed Cherokee Studios in Hollywood was at one point on hiatus. Why was that? Is it back in production now?
Ah yes – my album! “Fighting Under Water” went on a short hiatus due to some relatively glamorous reasons – my drummer took a national tour (yay!) and I had a warning stroke at NAMM (boo!) so that had me laid up for a bit. Plus, there had been a trip to Japan in the interim (obviously that got cancelled) that had delayed the production. I am happy to say that once my leg heals up (oh yes, in the middle of all of this, I fell into a pothole and tore some ligaments!) we are straight back to work! Bruce and his team have been extremely supportive of me and I love Cherokee so much. The ideas Bruce has for these songs are nothing short of tremendous. It’ll be a very different album from anything I’ve put out before and it’ll certainly be different than my self produced work – in a good way! He really pushes me as an artist and just has a great energy about him.
What does it mean to you to be a producer and studio owner?
You know, I was just having this conversation with someone the other day and I was telling them I never thought this would be part of my life. Growing up, as far as I was concerned, I just wanted to be a songwriter and performer and tour the world playing music. I was somewhat (okay very) singularly focused.
Being a studio owner (my studio is called Tiny Cactus Productions) and a producer means I get to have a hand in shaping my industry by producing the artists that I believe in, by producing more of my own music faster, and by providing a space where artists can express, create, and EXPLORE!
The exploration factor to me is key. I love encouraging and working with artists who want to be their own thing – not be what’s out there already – sometimes they come to me without knowing who or what they are and they get to find out while spending time in my studio! To be a part of their evolution and discovery process – whatever small or big part we play in that – is truly amazing to watch and experience and it makes me so hopeful and excited for the music industry of tomorrow!
Tell us how having the option to self-produce your music taught you a lot about taking your career into your own hands.
For me, it boiled down to a few things: first, my vision, my voice, my rules. Second, I don’t need to apologize for being self-confident. Third, in order to maintain those first two points in good standing, have good people around you. Trust in your team and give them a reason to trust in you. Do your research. LEARN something new every day! Push yourself past your limits. It’s good for you. Most importantly, never wait for someone else to tell you yes or no. You are your biggest yes. While someone else could be preparing a million reasons to tell you no, you could have gone out and done it already. You are your best yes.
What advice would you give women who want to be producers and/or studio owners?
Hmmm….. good question! A few things come to mind. First, I would say to know your strengths and be aware of your weaknesses. Secondly, research, ask questions, learn, and READ! Tons of publications – both qualified trade papers and blogs, etc are out there. I read everything I can to keep a pulse on what’s going on, what’s coming up, and to know who is spreading what sort of BS out in the industry. Sometimes, it’s just as good to know the BS as the real stuff. Also, know your gear. Ask questions about it. Audition it. Don’t just choose pieces because they are known to be the “industry standard.” Also, I encourage folks to take a holistic view of their career and role in the landscape of the industry. One of my old FOH guys once gave me a piece of great advice which was to always try to consider every move you make two degrees out – like a ripple effect.
I’d also say this: the business can be super cut-throat and there are a lot (I repeat, a LOT) of naysayers out there. Remember you can hear them without actually listening to them. Do your thing and make your studio or your identity as a producer unique and special. That, in turn, will attract the right kind of artists and clients that you can best serve. There is room enough in the industry for all of us. It’s just up to you to find your strength in your talent and your service and run with that!
How did you get the opportunities to score a major motion picture, a documentary short, produce a feature documentary and a new TV series and all the music scoring for it?
So the secret (which won’t be much of a secret after this interview haha!) is that I actually run a production company (Rose City Media Group) and my studio is part of that. This means we have access to a lot of projects that are looking to be made and are commissioned to produce some of them as well. That combined with the network of people that are familiar with my work over the years has led me to this place of getting different projects that have a lot more to do with film! I know there’s an old adage about show business that it’s all about who you know, but it’s really all about who knows you – and in what capacity.
Work hard and build a good team around you who treat people uniformly with respect and consideration. Turn in your projects on time or early – stay within their budgets or come in under the budget. Go the extra mile and it’ll get you far in the industry. It’s hard work and tiring. But totally worth it. The blessings considerably and completely outweigh the harder times.
Connect with Emiko on social media:
Social is all @emikomusic
Recording Studio: Tiny Cactus Productions (a division of Rose City Media Group, LLC)
Instagram: @tinycactusproductions
Rose City Media Group:
Instagram: @rosecitymediagroup.com
Listen to Emiko’s “Great North Road” on her Spotify Artist Profile:
