The Journey of Gary Klebe: From Shoes to Solo Success
Understanding why certain bands don’t achieve mainstream success can be perplexing, especially when they possess exceptional talent, catchy melodies, and skilled musicianship. In 1979, Shoes emerged as a promising act following the release of their indie album Black Vinyl Shoes, which garnered critically important attention in the music industry. This buzz led to a deal with Elektra Records and the release of Present Tense, a power pop gem filled with infectious melodies, produced by the renowned Mike Stone (known for his work with Queen and Journey).
Perhaps they fell victim to the backlash against The knack,but regardless,singer and guitarist Gary Klebe,alongside bandmates Jeff and John Murphy,continued to produce two more albums of equal quality before returning to their indie roots.
In their quest for creative expression, the trio established the respected Short Order Recorder studio, were they recorded and produced albums for a variety of emerging artists, including Material Issue’s influential International Pop Overthrow. Against all odds,these three musicians from Zion,Illinois,managed to realize their dreams of creating music reminiscent of The Beatles and Big Star.
Gary Klebe’s New Chapter: A Solo Album
despite the passage of time, shoes never ceased making music. Recently, Klebe unveiled his solo project, Out Loud, which he recorded independently, with drumming contributions from John Richardson of Gin Blossoms fame.
What inspired you to embark on a solo album at this point in your career?
One might assume that with three songwriters in the band, there would be an abundance of unreleased material. Though, that has never been our approach. We create songs specifically for each project. Once we decide to make an album, we begin writing anew.
Thus, I never had a backlog of songs. All the tracks on this album were penned after our last Shoes release. I had a few ideas, but I sensed we weren’t ready to record yet-the timing just wasn’t right. I started writing more, and before I knew it, I had nearly completed an entire album.
Initially, I lacked the confidence to consider a solo record. The process surprised me; it felt like it came together almost effortlessly, and I simply finished it.
Recording Techniques and Inspirations
I’ve heard that the guitars on your early album Black Vinyl Shoes were recorded directly. What’s your take on that method?
There’s no singular best way to record. Whether you choose direct input, emulations, or miking a real amplifier, each method has it’s advantages. Personally, I’ve used direct recording through an MXR Distortion+ for solos, while at other times, I prefer a Marshall amp.
There are no strict rules in this realm. if someone tells you there’s onyl one way to record, don’t listen. I enjoy blending different textures, mixing clean and distorted sounds or acoustic elements. My typical approach involves miking cabinets closely and at an angle, similar to how musicians experience their sound live.
Steve Albini advocates for a straightforward approach-miking directly down the centre with two different microphones at varying distances. That’s not how I typically operate.
When musicians hear their guitars,they’re frequently enough standing with the speakers at knee level,which shapes their perception of the sound. When recording, it’s essential to replicate that experience to some extent.
Influencing Future Producers
You produced Spooner, the band that helped launch Butch Vig’s production career. Can you share that experience?
We recorded at the former Playboy Club studio in Lake Geneva, Wisconsin, which was quite notable. The album Every Corner Dance showcased Spooner’s unique sound, distinct from Vig’s later work with Garbage. However, both bands shared a commitment to strong songwriting.
Butch had some recording experience but was eager to learn. I encouraged him to consider himself a producer, given his work with various bands. He credits that conversation as a pivotal moment in his career, although I suspect he might be embellishing a bit! When I visited Garbage’s tour bus, he told me, “You’re the reason I’m doing this.” He’s incredibly kind and has become a remarkable producer in his own right.
the Hamer Connection
Shoes were among the early adopters of Hamer Guitars. Do you still own any?
Absolutely! I have a collection of Hamers. They’re based in Illinois, just a short drive from me. We first discovered Hamer guitars while watching Cheap Trick perform in local clubs. Rick Nielsen and Tom Peterson played Hamers,and as huge fans,we were immediately drawn to them.
At a party, I met Jol Dantzig, one of Hamer’s co-founders, who discussed the possibility of us using their guitars. This was around the time we were signing with Elektra. We visited the factory, witnessing the entire production process, including some of Nielsen’s iconic guitars. It was fascinating to see the craftsmanship involved, and we quickly became friends with Paul Hamer and jol Dantzig, eventually purchasing several guitars from them.
Opening for KISS: A Memorable Experience
Shoes opened for KISS in 1982. What was that experience like?
It was a New Year’s Eve concert in Rockford, Illinois, and our agent managed to get us on the bill. We thought it was an unusual pairing! The venue was a large arena,and while it felt mismatched,it was an exciting chance.
While recording our debut Elektra album at The Manor in England, a staff member mentioned hearing Gene Simmons declare on the radio that we were his new favorite band.
We were taken aback-Gene Simmons? KISS? It felt surreal! A few years later, as we prepared to record Stolen Wishes, Gene expressed interest in signing us to his new label. We spoke frequently, discussing music and ideas.
He wanted us to record, but also suggested redoing some old Shoes tracks and covering other songs, which didn’t align with our vision. Ultimately, the collaboration didn’t materialize, but it was a fascinating experience to converse with him.
Embracing the Power Pop Label
many artists shy away from the power pop label. What’s your perspective on it?
Eventually, you come to terms with it. While I wince a bit when describing our music as power pop, I’ve always believed that the bands I admire defy categorization beyond rock ‘n’ roll. Power pop seems somewhat limiting.
what genre would you assign to The Beatles? You’d simply say, “The Beatles”-that’s the category. That’s what every band aspires to achieve.
People often place us firmly within the power pop genre, but I believe that category can be quite broad. I accept it as a positive label. The most enduring bands, like Cheap Trick, Genesis, and The Beatles, transcend such classifications.
Ultimately, I’m grateful to belong to a genre; it feels like being part of a community.
Future Prospects for Shoes
Looking ahead, will Shoes release any new music?
We share a strong bond as friends. While we have our disagreements, the conversation frequently enough circles back to the idea of creating another album.
It’s a significant commitment, and the audience may not be as large as it once was. We tend to make records for our own enjoyment rather than for commercial success. However, I can confidently say that another Shoes album is on the horizon!
- Klebe’s solo album Out Loud is available now.
