The Martlet

Armed with a case of beer, a pack of cigarettes and a tape recorder, I head to Gonzales Beach. It’s a beautiful, cloudless day as I drive with the windows down and Vince Vaccaro’s new album, released nationally on April 28, blasting through the speakers.

The prodigal son of Vancouver Island, he was signed to Cordova Bay Records this past February. Vaccaro plays live shows across the country, recently playing in Toronto with another Victoria local, Kuba Oms. The Zone 91.3 honoured 28-year-old Vaccaro as artist of the month in 2006. Vaccaro was also featured this year at Junofest 2009 in Vancouver, alongside many other Canadian musicians. Then, on April 1, MTV’s Buzzworthy claimed “Vaccaro builds new-school classic rock ballads out of heartbreak guitars and his unstoppable voice.” Buzzworthy informed readers to “get familiar with this charismatic Canadian.” The dawn is breaking for this young musician.

As I walk down the beach, I spot Vaccaro sitting on a driftwood bench with a friend, talking and waving his hands, stopping every so often to take long drags from the cigarette dangling from his mouth. I instantly notice his odd choice of apparel for the beach — a black t-shirt, black cut off jeans and old Converse basketball shoes. Vaccaro’s face is unshaven and his signature long hair curtains part of it. When he sees me he yells my name, introduces me to his friend, offers me a cigarette, and sits back. For a moment, he just stares at the Olympic Mountains across the ocean.

“Beautiful,” he exclaims. “You wanna to go shoot the shit?”

I do. I am eager to know the story behind the journey that led this man from recording demos in his basement to recording his first nationally-released album.

Q: How does it feel to be signed? What has Cordova Bay Records done to offer you support?

A: Being signed to a label brings you into a circle of well-established people; you join a huge team. When I record a demo in my garage, I show it to my friends, but when I record an album for Cordova Bay, they don’t just show it to a few close individuals, they show it to publishers, radio executives, television personnel. It’s like being brought into a family where you’re going to be helped, because that’s the goal. Everyone is working together, which is one of the main reasons an artist signs to a label. You have a common goal and every step has to be well calculated; it’s like playing chess — you make one bad move and you’re totally fucked. I made the music but they guided me in the right direction.

Q: Listening to the new album, I’ve noticed there is a certain spiritual element to your songs, but not one I would classify as Christian Rock. You’ve said you have faith in a higher power but do not consider yourself a strict by-the-book Christian. Can you elaborate on how you transmit your faith into your music and life?

A: I feel a connection with what’s natural. For me, without trying to steer people into a certain direction, it is my own belief that there is a creator. Whether the world was created as is or through adaptation and evolution is inconsequential to my faith. I believe every human being has a spirit, and that drives me. As Lester Bangs claims from Almost Famous, “There is only one true currency in this bankrupt world, what we share with someone else when we’re uncool.” It’s just two people sharing a moment when you don’t have to pretend to be anything you’re not.

Q: The second track on your new album, “Animals,” seems to be about throwing away all the meaningless trivialities of life and concentrating on things that really matter like love, nature and kissing in the middle of a forest. How does this relate to your personal life?

A: The romantic idea in the song “I want to kiss you in the middle of the forest, I wrote you a song and I taught it to the animals” was a visual for me. It is about a girl in my life. You are making dinner, the sun is going down, it’s becoming twilight and you’re drinking wine. It’s those moments in life when nothing else matters but that person. “Animals” to me is about the pre-party — putting face paint on each other and going dancing.

Q: You seem to use the theme of cities and the sun in a number of your songs, including the first track on the album, “City at Sunrise.” Are these symbols literal or figurative?

A: Well, I think cities are a lot like people. They start small, then they grow into something. You have to manage all the things that you aren’t planning for. I always try to think of interesting ways to describe really simple things ... I try to watch the sunrise as often as I can, whether I wake up early or stay up from the night before. I love the smells and the feeling of rebirth. That can be metaphorical of people as well. You wake up one morning after going through a difficult time, or you are unsatisfied with your life because you are not doing the things you want to do. Every day gives birth to new chances and opportunities. The idea of “City at Sunrise” is that you can always grasp a second chance. The concept of grace offers the idea that there is always a way you can restart and, in a sense, have a sunrise in your life.

Q: In the past you have travelled a lot. In fact, “Heart and Hands” is about your travels to Australia. Why is travelling and seeing the world so important in your life?

A: In high school I wanted to go to Australia and I never did. I felt committed to my music and, if I left, it would have put a block in my way … I had a goal that I hadn’t met. But travelling was like taking all the gear off and putting it in a bag. So many of my friends had gone travelling and come back with such glorious stories, things I would revel in, like swimming with whale sharks. I wanted to feel it and wanted to live it. When I get to a point in my life where I feel old, I can look back on things I did in my younger years without regret. Everything that has happened in my life to this point was fuel. I feel so alive when all I have is a backpack and no specific direction.

Q: “My Angels” is a hauntingly beautiful song. Would you reveal the story that inspired you to write “My Angels”?

A: I will be honest — “My Angels” is not a light conversation. I met someone and in a short period of time we became close friends. She went off travelling and when she got back she decided to make money through the sex industry and she started using drugs. It began with more socially acceptable drugs, like ecstasy and cocaine, but eventually progressed into smoking heroine. Stephanie McPherson, who sang on the album, was a good friend of hers as well, and I remember sitting with Steph at a coffee shop to meet this girl, who got high before or during this meeting. I asked her why and, understandably offended, she answered “I need to do it just to feel normal” — almost like a plea, fuck leave me alone.

“My Angels” was written about four years ago, and I saw this girl fairly recently. It was so sad because she was pale, emaciated and subdued. She was still working as an escort and it was so difficult seeing a close friend in that place. “My Angels” is about my spiritual desire to protect her. One day I went over to her apartment with a friend, and the first thing I noticed when I walked through the door was little figures of Jesus hanging all over the place that were bound in wire. It was dark, dirty and there were drugs scattered all over the table.

I don’t think I could ever go back there. When I got home I prayed for her and asked God to send her angels. I asked to send my angels, the ones who protect me. I wanted to send everything I had to help her find the way back. All those drugs, the addictions, anything that was holding her down, she had allowed into her life. All those things are powerless until you let them in, which ultimately gives them the power to take over your life. She is bound.

Q: One of the most difficult things about being a musician seems to be battling addictions and substance abuse. How have you avoided falling into that trap and were you ever tested?

A: One of my great friends, Davin Greenwell (formerly DJ Arizona, now AFK), an electronic music producer, once told me when I was doing things I should not have been doing and have overcome, that if you want to do something, or you do not want to do something, all you have to do is use your will power, because that is why you have will power, not to let other people or things decide your fate, but for you to control your fate. That’s all it takes, man. Sure, I’ve gone off the track at times, but every step you take forward on a certain path also has steps back that lead in other directions.

Q: In many ways the music industry has been transformed through the illegal downloading of music, the buying of music per track through iTunes rather than buying an entire album and the rise in ticket sales to see live performances. How does this affect young and struggling musicians and how has this affected your career?

A: Honestly, download away. I have already found my song “Left Alone” on four different torrent sites. Interestingly, “Left Alone” is also the highest purchased track from the album on iTunes. I think it’s cool. Yeah, you lose money, but you lose money doing a lot of things. The question of whether or not downloading music is right comes down to whether you are in it to be rich or whether you want your music to be heard. Personally, I want anyone and everyone to hear my music.

Q: Writing music is comparatively like publishing a diary about your first kiss, first heartbreak and first wet dream. How do you deal with wearing your heart on your sleeve — can it be therapeutic, or are there disadvantages to letting the private become public?

A: There are disadvantages, but everyone has their own emotional state. Being a musician, I believe it’s my natural inclination to express myself musically and poetically. I am going to have a lot of people who know what is going on inside me, which is a little scary at times, but I don’t care. Art is intended to give birth and sometimes challenge thought processes in order to express life.

I lost my grandmother this year, who was such an important person in my life. When I was younger, I remember looking through the Sears catalog and coming across a cheap, generic guitar. Everyone in my family was suspect that I would lose interest like you lose interest in so many things when you are young, but my grandmother believed and bought me my first guitar. Without her watering that first sapling, I may have never begun playing music. After she passed away, I attended a Sicilian ceremony that is similar to a wake. Her body was displayed to the public, but it didn’t even seem real. She was always such a vibrant person who would spontaneously break into song, and when I played the harmonica she would dance, clap her hands and spin around. That day she was still and it was very traumatic for me. But I wrote tons about that experience and in many ways it has helped me deal with my loss.

Q: How does it feel to be a musician on Vancouver Island? Do you ever see yourself going to a bigger city where you may be given more exposure?

A: I love the ocean. Honestly man, when I go to places like Botanical Beach or Tofino it reminds me that I am so happy here. My friends live here and my life is here. One of my favourite musicians, Ben Harper, who I have loved since his album “The Will to Live,” may live in Guam for all I care. I didn’t know where he was from then, and still have no idea; it seems irrelevant. It is the art you create, not necessarily where you created it. Being on the Island I feel grounded. I love that I can drive for two hours and be surfing at Sombrio beach. Why would I want to go to some big city and leave this all behind? When I picture raising a family, it is on Vancouver Island. I have left before, but I always come back. That says something.

Q: As a musician, it’s impossible to appeal to everyone. What techniques do you use to overcome criticism?

A: Actually that is something I’m working on. Sometimes I don’t handle it in the best way because when you put your heart into something, criticism can be interpreted as a personal attack. There were perspectives shared about the lyrics to “City at Sunrise,” but those lyrics were genuine for me. They were feelings and emotions that I wanted to communicate as they were. There is a great deal of trust involved with receiving and offering criticism from those who are close to you. Everyone is entitled to their opinion and I’m just doing what I know how to do.

Q: What are some ways you deal with hecklers when you are playing live?

A: Well, we played with the Trews at Scienceworld in Vancouver and some dude who was clearly wasted began demanding we play Aerosmith. So I broke into “Living On the Edge” for a couple chords as a joke, then stopped and said, “Someone get that man some water.” He seemed to enjoy the attention. Playing live should be fun for everyone.

Q: I realize this album is a collaboration of songs you have written years ago with ones you wrote fairly recently, but are there specific influences accredited to the album?

A: Yeah, for sure. I listen to a lot of music, and my collection is fairly eclectic from old rock and roll to electro house. When I constructed this album I was listening a lot to Tom Petty, who is as relevant now as he was when he released his first hit. Many of his songs were written with a 12-string guitar and, because my guitar player is a huge Tom Petty fan, he used a 12-string in a lot of my songs.

In addition, there is Matthew Good Band (MGB), who influenced me to use one instrument to create a sound that isn’t necessarily natural — like doing a keyboard part on the guitar through effect pedals. That was a very MGB derived idea.

The guitar solo on “Train” was directly influenced by Dave Genn and his use of making it seem like you are altering the delay time on a pedal, but you are really slowing it out of time and sync.

I went to HMV the other day and my album is on the rack between Eddie Vedder’s “Into the Wild” and U2’s “Joshua Tree,” so I brought my camera today and I’m going back to take a picture. I’ve never felt so accomplished in my life.

Q: Writing an album is not an individual effort. Are there any individuals in have been particularly encouraging?

A: Yeah man, there are so many who have encouraged me to stay the course — that’s the new motto. And that is the motto that my manager, Nick Blasko, has been encouraging me with. Nick is very effective at focusing me. If he were a sailor, he’d be the fucking captain at the wheel as you’re heading into 90-foot waves. Everyone would be yelling “we’re going to fucking die” and he’d respond, “Nah, stay the course.” He gets shit done.

Q: I’m certain that readers would love to know what keeps you going in an industry that is so uncertain. What are some obstacles you have faced as you work towards your dream?

A: Two obstacles appear in my mind right away. Distraction is number one. All things that I love to do, that aren’t related to music, are complete obstacles. But if you want to make it in this industry you must focus. Distraction is the enemy.

People talk about balance in your life between work and pleasure, but making it in music is like surfing. If you don’t paddle with commitment, you run a higher risk of missing that perfect wave. The swell is going to come, but you aren’t going to get into the pocket.

Another obstacle is overcoming discouragement. One that I have faced is having a passion and love for one life direction, while watching my hands do things that I absolutely hate [like manual labour], to make ends meet. Or seeing friends appear to pass me by. I’m 28, and a lot of my friends are married, having children, buying houses and I’m living like I’m 18.

I’ve had spurts where I lived in my Volkswagen; couch surfed, and basically lived in the moment. Girls can be a distraction as well. The minute a beautiful girl comes along, nothing else seems to matter. All you can think is, good God, Halleluja, I am complete. But you can run the risk of losing yourself along the way.

Four years ago I made an EP in my basement. Granted it didn’t go as far as I hoped, but it started the wheels and I was able to put a positive spin on a discouragement. That’s what you need to do, find the positive in the negative. Now, four years to the month, I have a nationally-released album.

It’s a miracle to me, and I appreciate everyone’s support. It’s amazing how many people have believed in me, but sometimes it’s hard to notice. You can have tunnel vision, so it’s important to surround yourself with people who support you.