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Lucky Spaulding
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One of those small, relatively insignificant aftereffects of 2001's terrorist attacks on America was its influence on popular music. Rushed together "tribute songs" and benefit concerts aside, some musicians were forced to deal with the fact that their music or image might be taken as insensitive.
Different artists dealt with the dilemma in different ways. Rap duo The Coup agreed to do away with an album cover depicting the World Trade Center towers exploding; Prog rockers Dream Theatre re-did a cover that superimposed flames over the New York skyline; and The Strokes decided at the last minute to yank the song "New York City Cops" from their debut album.
But what if your band's name -- a key to any artists' identity -- has the potential to be perceived as "insensitive." By breaking up earlier last year, The Afghan Whigs didn't have to deal with it. Hard Rock group Anthrax received a lot of publicity by resolutely saying they would not change their name to "Basketful of Puppies" or something less button-pushing. And electronic duo I Am the World Trade Center dropped the name briefly, allowing at least some of the anxiety to die down.
Lucky Spaulding, known around town as the frontman for the Reggae-tinged band Zionites, says he was leaning toward dropping the band's name anyway. But following the attacks and the growing tension in the Middle East, the decision made itself. Spaulding says that people were connecting the name to "Zionists," the followers of Zionism, a Jewish nationalist movement striving to segregate the Jews and create a new state in Palestine.
"The biggest reason for the change was the Sept. 11 attacks," Spaulding says. "A couple of fans from Palestine stopped coming to see us because of the name. At that point, I just said 'That's it.' I love the name, but I think it's in my best interest to just go by 'Lucky Spaulding.' Besides, it's catchier than Zionites."
Spaulding's decision to lose the Zionites name comes at an opportune time. Late last year, Spaudling released the EP, Dinosaur Love, his first CD under his own name (last year's Living is credited to Lucky & The Zionites). The CD, produced by local musician/studio wiz, Rob Fetters (who also plays the majority of guitars on the disc), finds Spaulding moving even further away from the Reggae sound Zionites had become known for, showing off a distinct Pop/Soul feel.
"I started out playing Reggae, and I still love it," Spaulding says. "But there's a big world out there. And it's hard to play Reggae music and get it played on the radio, unless you sound like Shaggy. I just thought there was a better way to get my songs across to a wider audience."
Spaulding is a veteran local performer, launching the Zionites when he was just 15 years old. Since then, besides being a main draw on the local club front, he has managed to make a lot of solid industry contacts, which he has high hopes will help him land a record deal. Fan Justin Jeffre of the locally-spawned Pop group, 98°, helped Spaulding realize he needed to have a more focused sound (leading to the sessions with Fetters), and he also passed his music around to high-profile industry connections. Those connections have led to an upcoming trip to Los Angeles, where Spaulding will record some material this winter. Spaulding's drummer, Greg Slone, has spread the word, too. The experience with his former band, Moth (releasing their major label debut on Virgin this April), has helped get Spaulding's music to producers and label folks on the East Coast.
But perhaps Spaulding's most important "contacts" are the ones that helped shape him as a musician: his family. Spaulding has two brothers (Shake and Seven) and a sister (Silver) who are all musically inclined (Shake and Seven gig in the area). His mother (who he says dated David Crosby, pre-Woodstock) and father (who played with Roberta Flack, among others) are also musicians. And his grandfather started local Rock radio station, WEBN.
Spaulding recalls being surrounded by music as a youngster, running around the halls of WEBN (which was then quite the hip station) and absorbing the sights and sounds. His uncle worked at the famous Fifth Floor Studios, the biggest pro-studio in town in its day. As a tot, Spaulding remembers hanging around the studio during a Bootsy Collins' session.
"I was sitting on (Collins') lap at the studio," says Spaulding, who eventually became a giant P-Funk fan. "And he would say, 'You like Funk; you like my Rubber Band?' And I was like, (crying) 'Ohhh, get away.' When I grew up, I listened to his CDs and I was just like, 'Man, that's good stuff.' "
Spaulding's other major influences include Steely Dan, Jimi Hendrix and Bob Marley. Spaudling says Marley's influence goes beyond just introducing him to Reggae.
"I loved Bob Marley not just for his music, but for his message," he says. "Like 'Don't be a racist,' and 'Try to live your life to the fullest.' I write a damn good love song, but I prefer to stick troublesome situations in front of people and really try to shock them into confronting bigger issues."
When asked what contemporary artists he's into, Spaudling mentions D'Angelo. But when the subject of Lauryn Hill -- an artist he once deeply enjoyed -- comes up, a flash of Marley's personal influence and Spaulding's inclusionary philosophy rears it's head. Spaulding is a man who has no tolerance for intolerance.
"I heard that (Lauryn Hill) made some racists comments, like 'I don't need white people to listen to my music,' " he says. "I'm not white, I'm mixed. But even if I was black I would hate that. I really try to give everyone the time of day, but the first time you make a (racist) comment, that's it." ©
