Pigeon Spins Featuring an Interview with Steve Creep & Wildcards

Steve Creep & The Wildcards - 45

45 is the 4th single from this Montreal rock band. While it’s a departure from the previous singles it still has reminiscent qualities such as catchy melodies with layered guitars and punchy drums while taking on a more serious subject about a true story of a high school friend who took his own life and how it affects those around him.

"Our debut single Wind Me Up reached 95k on Spotify and started us off building a fan base getting reviews and press in many countries. Now we’re back with our sophomore release Bottles And Cans which we feel is an even stronger song than its predecessor. We have high hopes that this single will continue the momentum we started with Wind Me Up."

Interview with Steve Creep & The Wildcards

(•)> What prompted you to explore a more serious subject this time?

45 was an old song I had lying around which I always felt connected to because it was personal to me. I think when you listen to most of my songs the lyrical content is always kind of serious but not always presented in such an obvious way. But there’s something that resonates deeper when it comes to suicide and the fact that it’s a true story that hits home. The other songs I find can be taken in whatever context suits you whereas this one is very specific. The real dilemma I had was wondering if it musically fit in with all the others but at the same time I like how it gives the listener more dynamics when hearing them all side by side. At the end of the day I still think it fits well in the live set and it helps pace the show.

(•)> How did you approach writing about such a personal and sensitive topic?

I was sitting around in the studio on the anniversary of Mike's passing and I was just in that kind of mood. There was a keyboard there and I just started noodling on it. It’s the only song I've ever written on keys. I used a piano sound and started playing with the melody and I guess the initial chorus came to me. I wanted to create something that modulated and told a story that can keep the listener or me engaged. The first draft of this song was just a piano and vocal at first but it took on several forms before it became what you hear now. It’s still the hardest song for me to sing live as I sometimes get emotional singing certain lines in the song. But I figured if it means something to me then someone out there will likely relate to it as well.

(•)> Did you consult or reconnect with anyone from that time in your life while writing “45”?

I never lost touch with the family. We remain very close to this day even though they moved across the country. When I’m in Calgary we always connect. For years when they lived near me I’d go to their house frequently and we’d all share stories. What’s really strange is that I first met them at the funeral. They all told me Mike would tell them stories about me after school.

(•)> Musically, what distinguishes “45” from your earlier singles?

So getting back to its inception, although it was initially written on piano at the time I was in a power pop punk band. We never recorded the song as a band but were playing it live and initially in that form it was shorter because the song was a lot faster. The first recorded demo of it that I brought to that band sounded more like Rancid meets Green Day. It was more along the tempo and feel of Fall Back Down by Rancid with clean melodic vocals like Green Day would do. It had an organ on the recording and a walking bass line like Matt Freeman would play. There was no harmony guitar solo after the first chorus and the main solo was that first guitar melody that starts the main solo repeated throughout that whole section. The lyrics were the same but the chorus melody was flatter with vocal harmonies on top. The guitars were a lot more aggressive and driving. There was also no acoustic on that version. As far as how it compares to the other songs, I typically like writing short and concise songs with a strong hook that really get to the point. I think this one tells more of a story and so the music kind of reflects that with all those parts you hear. I tried taking anything I could out of this song to shorten it when I recorded it at this speed but it always felt like it was missing something. Some songs just have to be a certain length to tell the whole story the way you imagine it.

(•)> How did you balance your signature layered guitars and punchy drums with the heavier theme?

When it came time to record this version of the song I wanted to bring it up to date in a way I knew I’d be happy with it over time. This was one of four songs I did in the first session. At this point there was no band. I chose to record this one because sonically I knew it would be different and I had a vision for it that I really wanted to try. So as I mentioned earlier the last version of this song was more like Rancid meets Green Day. But the way these songs were coming together I wanted more of a classic rock feel to it. I always liked these rock songs Rod Stewart was putting out in the 70’s like Maggie May and Gasoline Alley. I also really love Kiss and Thin Lizzy so I thought maybe I could get it to sound like Hard Luck Woman by Kiss meets something like Runaway Train by Soul Asylum. All those songs are acoustically driven but still have cool-sounding rock drums in them. The baseline in this song is more straightforward than it previously was but moves a bit in the chorus. The basic arrangement never changed from day one. I just slowed it down from the punk version and threw acoustics on there with more classic rock electric guitar tones. It’s got a nice dual lead guitar harmony I added after the first chorus instead of a bland segue with no melody on top. The harmonies in that section are really Thin Lizzy influenced. In punk rock guitar solos either don’t exist or they’re really simple and repetitive so I wanted more of a classic rock solo that didn’t go overboard but had memorable melodies within it. There’s a nice tremolo electric throughout the whole song that reminds me of CCR. If memory serves there’s a 12-string acoustic which starts the song and carries the whole way through but I think I may have also but a 6-string acoustic on there. Live we just play electric and I roll off my volume for certain parts as well as change tones with my pickups. For the drums I wanted something that was constant and driving on the hats like Maggie May or Hard Luck Woman. Because I slowed the song down to feel good with the acoustic and capture the mood just right I went through it a bunch of times trying to find the perfect tempo while trying to get it to clock in under 5min but in the end I had to compromise as it felt rushed any faster so it clocks in at 5:01. Definitely our longest song and I’m aware radio likely will ignore it for that reason but it is what it is. At least internet radio stations are picking it up a lot.

(•)> What role did the studio production play in shaping the emotional impact of the song?

I recorded this with Tom Shemerr from The Damn Truth at his studio. We bounce ideas off each other till we’re both happy. Sometimes it’s a compromise and other times it works immediately. I would show him my vision of the song and he’d counter with his own notes and what he thinks we can do on parts. I love the way he mixes because he’s an old school fan like me. On all these songs I really wanted an organic John Bonham big drum sound that was captured more off room mics than close up. It sounds almost like a 70’s record because of that and that’s something we both love. Most of the guitars are recorded on my Marshall plexi cranked in a separate room. No pedals. I lay down a click track with a scratch guitar and then we start by tracking the drums to those scratch tracks. There’s a crappy vocal scratch too for reference. Then I like to do guitars before the bass because I like playing bass in between the guitar and drums in case I want to ad a nuance or line that plays off both. I believe we did the 12-string first and then added the Gretsch White Falcon with the tremolo later. I think I’m using my Gibson Les Paul Deluxe on here as well. The bass was recorded directly if I remember correctly. But ya, overall the idea was to get a classic rock sound.

(•)> How has your audience responded to the change in tone and subject matter?

I’m told people like it. The reviews have been incredibly positive. Even when a station turns it down they mention it’s normally due to the song being too long or because it’s not heavy enough for that program. Obviously it’s not a party song but people can still sing along to it. Till I released it as a single I never mentioned specifically what it was about or who it was about. I always introduce the song live as “this one is for an old friend”. I think it helps keep the mood light live as our show overall is meant to be more of a party experience. Also I’m always afraid I’m gonna get too emotional talking about it live when introducing it. I like to let people interpret what they hear in their own way and make their own assessment of it.

(•)> Was there a specific moment in the writing or recording process that made you realize this song was different?

Yes, I think so. I know it had a heavier subject matter and I knew it had more dynamics than the other songs but I think that’s what shows that I’m also not a one-trick pony. I’ve always loved bands that showed different sides to their sound while always sounding like themselves and I think this song achieves that. From Led Zeppelin’s Physical Graffiti to Kiss’s Destroyer, I think those are good examples of that. At the end of the day I’m just throwing this one out there into the wild as to say whoever likes it will appreciate it. I know it’s probably not for everyone but art isn’t about predicting what the audience wants. It’s about showing the audience what you are and leaving it up to them to like it or pass.

(•)> Do you see “45” influencing the direction of your next project or future releases?

Not really. Truth be told I have others that might fall in this category that are yet to be released but I like to focus more on driving hard rock songs. It definitely won’t be like that Sugar Ray syndrome where Fly was such a success that they consciously released cheeky songs to recreate that success. My goal is to release whatever I’m happy with. Success to me is more about being satisfied with what I’ve created than it is about showing streaming or chart numbers. One day I’ll be gone and all that’ll be left are these songs. There’s nothing more cringeworthy than being remembered for putting our something that sounds dated that didn’t age well all in the pursuit of some sort of instant chart or financial success. When I look back at all those great albums from the 70’s like Fleetwood Mac’s Rumours or The Eagles' Hotel California, those songs still resonate today. If someone enjoys my songs 20 or 30 years from now regardless of what numbers they may pull then I think that’s all the success I set out for. Sure, I’d like to sell tickets to shows every night and make a good living at it but it’s not the be-all end-all for me.

(•)> If listeners take one message from “45,” what do you hope it is?

Honestly, I hope they like the song for the music and not just the message. Otherwise I might as well pursue poetry. I like to give a listener something they can hum along to even if they don’t know the words. I don’t want a song to be adored only because it has a strong message. Aside from that if you’re gonna really read into the lyrics I hope what you take away is not so much the somber story of someone taking their own life, but more than anything the real story here is what it leaves behind. All those broken hearts. Mike’s parents ultimately split and I think it was due to the strain of this incident. His brother struggles with his emotions. His friends miss him and it leaves a lasting effect. He’s the only one not feeling any pain. If anything it was sad and upsetting for all the things he missed having not been around after all these years. All these problems you think are permanent are only temporary and you lead the path to your own recovery. Life isn’t permanent anyway, so why take it away from yourself so young? You might as well stick around and see what good can come of it with a little effort. This incident was very pivotal in my life personally as I quit school immediately and left home shortly after. I went into a terrible spiral that probably has a ton of songs and stories in it just from the aftermath. So in closing I’d say if this song helps someone get through their issues and avoid the same situation then I think that’s the most I can ask for. I’d rather be part of the solution instead of part of the problem.