If you spent the next six months listening to Gene Clark songs, you’d be alright. Sometimes I sing it and I feel like I’m really in it, and other times I’m just on the outside a little bit, but still looking in. Actually, when we’ve been rehearsing together this past couple of weeks for some performances, it’s one of the ones where we kind of all look around at each other afterwards and: we nailed that. That’s what I got given and I don’t know what else I can do.Īnother favorite track from the album is Gene Clark’s “Where My Love Lies Asleep,” I’d never heard it before.ĭave: I mean, it’s one of those songs, where it sits, that I could see how people might overlook it, but it’s a very integral and important part to the sequencing at that point. It’s pretty self-indulgent, but that’s what I got. I’m still learning, and I’m still trying to use my voice to express how I feel. And my voice, then I’m searching for a place or way to emote the way that that particular phrase makes me feel. All I can tell you is that sometimes a certain phrasing, there’s something there that I want to pick at and find where it’s going.
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I don’t know how to answer that question, even. What makes a good vocal performance for you? What are you trying to convey?ĭave: Oh, it’s interesting because sometimes I don’t know what that is. The album is an incredible showcase for what you can do vocally. Mick Jagger, people I sat and watched, even as a kid, where I was transfixed. You’ve got Little Richard, you’ve got Elvis, you’ve got Dave Vanian from the Damned. Why go to anyone else? We’ve got the best there. And Elvis also as a performer I steal from the best. There’s a part of it that’s a bit fragile, a bit broken, but certainly longing for redemption and forgiveness, but he’s still solid and can deliver the tune. There’s still the cocksure Elvis that we love, and we want to hear the man that delivers a song that he didn’t write, and that certainly was his.īut there’s also something in there that I very much identify with. I came along and said: “hey, how about ‘Always on My Mind?’”ĭave: From the first time I heard it-Elvis’s version and his particular vocal on that track-I always heard a certain feeling in there that you don’t hear so much on some of his other recordings, which is this vulnerability. And then suddenly, it was Cat Power and James Carr. Some of the ones that popped up immediately were Mark Lanegan and PJ Harvey. So we had talked about trying to pull something off. We’ve done some performances together and some of those performances were pretty special between us. What finally brought it about?ĭave: With Soulsavers, we’d made a couple of records together where we’d written the songs together, and there’s a chemistry that’s building between us and the musicians that have played on those records. I know the idea to do a covers album had been kicking around your head for some time. Here, Gahan and Machin call in on Zoom from London to discuss the making of Imposter. Like many true artists, Gahan was singularly focused on the creative process behind his most recent work. He is uninterested in discussing the Depeche Mode glory days or his fame and well-documented struggles with drug addiction. And though the album is his take on old songs, Gahan himself does not like to dwell on the past.
Here in an entirely different context, you notice other aspects to his timbre, particularly some of the heavy, romantic, even nostalgic tones of an old world crooner. On Depeche Mode songs, he often emits a kind of gothic gloom. Where Gahan’s work in Depeche Mode is famous for its crystalline, crisp precision, here Gahan is more impressionistic, making for results that are inexact but entirely honest.
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They recorded all of the songs the old-fashioned way, live, with a full band, each finished track the result of a completed session. The album has a genuineness and soulfulness that wasn’t manufactured. They recorded it at the mythic studio Shangri-La in Malibu, owned and operated by famed producer Rick Rubin. This is the third album Gahan has made with Soulsavers, but the first made up strictly of covers. The album is a collaboration between Gahan and Soulsavers, the production and remix team comprised of Rich Machin and Ian Glover. Gahan’s cryptic voice perfectly captures the subtext of desperation and melancholy in his Depression-era standard “Smile”. From country crooner Gene Clark to indie singer-songwriters PJ Harvey and Cat Power from folk legends Bob Dylan and Neil Young to Elvis in his 70s torch song era. Listeners will hear his signature bellow tackle tracks by a hodgepodge of varied and unlikely artists.
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