10 Questions With Johnny Falstaff - Feb 28, 2020

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 You grew up in Alice, TX, and were influenced by '60s honkytonk classics by the likes of Buck Owens, Ray Price and Merle Haggard.  Tell us about the development of the persona, Johnny Falstaff. Was Johnny born when you went solo? Is Johnny a lover, barroom provocateur, guitar hero, or all of the above?

JF: I was born in Alice, but actually grew up in Alvin, a small town just outside of Houston.

If I had to pinpoint a birthday, I guess it would be around 1991. I moved to Nashville in 1990 with a wife, a suitcase full of songs, and empty pockets. I left Nashville a year later in exactly the same state -- minus a wife. When I came back home to Texas, I was in and out of a few bands until I started a group called The Sundowners. Back then, I would have definitely said all of the above, but now that I'm older and hopefully a little wiser, I'd just say that I love to lover, and lover again!

We are always a fan of smart songwriting with insightful lyrics and wry undertones. What moves you to start writing a song? Is writing intensely personal to you? Is it cathartic? Is it simply creating something that wasn't there a few minutes earlier? What things do you really relish writing about?

JF:  I jot down lines and ideas all the time, but it's hard to say what moves me to start actually writing the song. I'm not a disciplined writer that blocks out time everyday to write, but neither am I the guy that waits for inspiration to fall out of the sky. I'd say that I'm more of an opportunist. When the house is quiet, I turn off the phone, disconnect from the computer, and think.  

Sometimes I draw from the past, sometimes I write about what may lie in the future, but it's all very personal, and a lot of it biographical. I tend to write about stuff that I'm familiar with ... loving, losing, loving again. I tried to write a prison song once, but since I never graduated past the city jail, it was a little pretentious.

 You split time between Europe and the US. Why did you move from Texas to Dresden, Germany? Knowing Johnny Falstaff's facility for romance, was there a woman involved? What's the honkytonk scene like in Germany? Are there advantages in Germany for you artistically?

JF:  You nailed it! I was touring in Europe in 2006 and met a wonderful gal. After carrying on with a long distance relationship for a while, we decided to get hitched, and I moved to Germany.

There is a really cool roots music subculture all over Europe. Some folks dig really deep into the history of it and can tell me more than I thought I knew. While rockabilly is still a bit more popular than honky tonk music, we are getting more traction with the Ameripolitan movement.

Advantages, I would venture to say yes. Any time you are dropped into unfamiliar territory, the brain is stimulated creatively. I may never have written "Move a Mountain" if we weren't touring through Switzerland. We don't have too many snow capped peaks in Texas.

 What inspired you to make Lost in the City Lights? Why this album, now? Who is this album for?

JF:  It was time to put out a new record, and as I was going through songs and ideas, it just kind of came together - a life cycle of young passion to old age contentment, and the ups and downs in between ... a concept record, of sorts.

Who is this album for? What a great question! An honest answer -- me.  I think that if you aren't creating to satisfy some kind of artistic hunger, then your piece will lack some integrity ... but that's just my opinion. I wanted to share these experiences and thoughts, and I think most people can relate to them. It's life.

We love the new single, "Lost In The City Lights" (video), which carries the same name as the album. With its liqueur-glow musical textures and the understated arc of its pedal steel, it's so smooth and listenable. Was there a particular night that inspired this song or a lifetime of nights? 

JF:   I'd been wanting to write this one for a long time. Like most young people, we loved to throw ourselves headfirst into the nightlife. We'd put on the western finery and go carousing around Houston. The city was hopping with so many cool juke joints with so much good trouble to get into. It was all about the girls, girls, girls! I'm sure the song would ring true with the younger folks. They still get gussied up and go out looking for yum yum.

 Another standout on the new album is "Move a Mountain." In this song, you compare being in a relationship with moving a mountain one chip at a time.  You write about love a lot, yet you seem able to look at it with fresh eyes each time. When you are writing love songs, how hard is it come up with comparisons that aren't worn out?

JF:  I think it's all about the treatment. You can't be too cliche or predictable with it, but you can take something like "your eyes are blue and I love you," put a unique spin on it with melody and arrangement, and come up with something fresh. I don't really spend a lot of time trying to come up something that hasn't been done before ... just take it, try it, and twist it.

 If the song, "Lost in the City Lights," relishes a consequence-free approach to love with the "tomorrow is just a sin a way," mentality,  "Learn Brother Learn" reflects a more mature viewpoint that knows "it is so good to love, so good to love again today."  Does this album reflect all that you have personally learned about love and relationships in your past?

JF:  It does indeed, and I'm still learning. I'm glad that I'm not the wise old guru guy that lives on top of a mountain and knows everything. That doesn't sound like any fun at all!

You've acted in several movie horror projects including Honky Tonk Blood. Talk about your interest in B-Movie horror, and how you connected it to country music. 

JF:  I loved horror flicks as a kid; there was something special about staying up late after the folks went to sleep and watching it on TV. We had a program called Boo Theater, or something like that, absolute awesomeness. I dug everything from the black and white creature features to Hammer films. I took an interest in film making at an early age -- silly stuff with a Super 8. When that camera was no longer available, things got put on the back burner for a couple of decades.

Later on into my music career, I thought it would be fun to write a country horror song, so I wrote "Honky Tonk Blood" and made a cheesy video for it. That was so much fun that I wrote a whole album called, Death Western.

Soon after that, my amigo Hank Schyma came up with a feature length thriller script, and we filmed it here in Houston, guerilla film making at its finest. The title "Honky Tonk Blood" fit the film, and the rest is history.

A couple of songs off the soundtrack for Honky Tonk Blood, "Shine," and "Wanting You," really showcase your voice and songwriting, and both are brilliant. "Shine" is a beautiful love song that reflects the best that can happen when two people really care for each other. "Wanting You " (video) features a David Lynch sensual intensity.  Tell us about these two songs. How did they make it on the movie soundtrack? Both were on earlier albums correct?  

JF:  They were both on earlier albums. "Shine" was first released on a self-titled EP, then later on Honky Tonkin' Daddy. I wrote that song years ago for a girlfriend I had at the time. She was feeling down and I wanted to cheer her up in my own goofy way. I might have scored more points if I threw a box of chocolates into the mix. 

"Wanting You" was released on the Honky Tonkin' Daddy record. This song is a little more naughty and straight to the point. Country music used to be like that. 

It's been awhile since I've seen the movie, I don't remember which scene we used "Shine" in, but I remember using "Wanting You" as a vehicle to show just how warped my character was.

What's next for Johnny Falstaff. Where do you plan to tour in support of your album? Are there any other projects that you would like to let us know about?

JF:  We were in Memphis for the Ameripolitan Music Awards at the end of February, I was blessed to be nominated in the Honky Tonk Male Artist category. That was a great way to get things rolling. We have several shows around Texas in March, and I'm planning some spring/summer shows in Europe.

Once the smoke clears, I have a couple of new scripts that I'm working on, and a slew of new songs, as well. 

The honky tonk blood is pumping.

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 Many people in the U.S. are not aware of the roots music subculture present all over Europe. Since you are from London, England, how early in your development as an artist did you make the move to traditional country and was there any single event or events that led you down this path? 

Sarah Vista: There is indeed a passionate roots scene in Europe! I’ve worked in music venues in London for years. I used to work for the Borderline, and my current venue is one of the biggest in London for established Ameripolitan/Folk/Country acts. There’s also a number of regular roots-based club nights in London, such as The Country Soul Sessions, Chris Smith’s “Oot’n’pik” and my own Sarah Vista Social Club at the Aces and Eights Saloon, where I’ve been lucky to host a number of international acts. It’s small but growing steadily. 

They say you don’t choose country music, it chooses you, and I stand by that statement. I am hard headed and have always made my own luck, and one thing I have learned is that it’s not a good idea to impose rules on yourself creatively. I never set out to make country music. I wanted to make a Western movie soundtrack inspired LP. If you ride with an open mind, adventures happen naturally, and here I am, having the time of my life. I guess I found my calling. 

When I started Sarah Vista, nobody seemed to be exploring the darker edge of country. Sarah Vista’s character is a retribution-driven wild western avenger, so I was happy to fill those boots with something brutally honest, different, wholesome, and fun. I guess that’s how I would describe genuine country music. The lame mainstream hipster/chart/copycat/pop stuff exists here, too, but I’m happy ignoring that; it doesn’t belong in my world. As for the Western side of music, that’s ingrained in my brain since I was a kid from my obsession with western movies, so its naturally exciting ground for me to explore. 

You demonstrate a full commitment to western mythology by wearing a holster as part of your stage attire. When did you start doing this and how has the response been to the holster accessory? 

Sarah Vista: I wore a holster since my very first Sarah Vista performance. I wished I was a cowgirl since I was a toddler and here I am, a big kid living the dream. The response is usually very positive, as a lot of the wonderful people that come to see me are either into Western history and or Western movies. (Some hardcore spaghetti Western fans will recognize my brown holster, which is a straight replica of Eastwood’s in the Leone movies.) I’ve had wind of the occasional backbiter complaint, but then there’s always someone fueled by negativity looking to piss on your parade, isn’t there!? It’s all about who you focus on in life. I pour all my attention on the people who dig my character, sense of humour, love of Western films and imagery. The others, I leave to die in the dust. (I 100% put on my deepest silver-screen worthy growl to deliver that line….) 

Tell us what it was like to win the Ameripolitan Award this February in Memphis for Best Honky Tonk Female. From releasing your debut album, Killing Fever, in 2018 to winning this award must seem like quite a whirlwind of events. That was a full house applauding you at the Graceland Guest House Theater in Memphis!

Sarah Vista:  It was a completely unexpected triumph! I had absolutely no idea it would happen, so I was stunned, thrilled and part horrified! I had to literally be pushed on the stage when they made the announcement. I have no idea what I waffled into the microphone, either, but what I do know is, I came home the proudest, and the most included in something I’ve ever felt in my life. I would have cried all the way home to England, but Sarah Vista don’t cry, so I just sat with a giant smug grin and an equally giant (I’d say well deserved) glug of whiskey. It was a bit of a bump, coming home to London, but I’ll never forget what I felt that day and the kindness of the people I met out there.

Europe has a long history of murder ballads, and many have been adapted on our side of the pond. When did your fascination with murder ballads begin? And do you have a particular favorite that you would like to share? 

Sarah Vista:  We certainly have! Thank you for commenting on it. I guess folk music is in my Celtic blood, and the history of the murder ballad goes way back to the 17th century and is so fascinating. I love the idea of putting a warning in song, and it’s also a great way to process stuff. I look at my song writing as not only a form of relief, but also a way of holding people to rights for their actions. Spiritual songs and murder ballads are the purest original form of that. One of my favourites would be the English (Northumbrian) ballad “The Twa (Two) Sisters”. I’m rather fond of Peggy Seeger’s version. I also love The Gosport Tragedy/Pretty Polly. 

There are many great versions of that kicking around, especially from your side of the pond. For a couple modern murder mentions, I also dig “They’re hanging Me Tonight”, (written by James Low and Art Wolpert) made famous by the dulcet tones of Marty Robbins on Gunfighter Ballads, and Wayne Hancock’s, “I Killed ‘em Both,” because as you know, what a guy! 

Killing Fever features the textures and atmospheres of some the best-known Western soundtracks (Once Upon a Time in the West, Fistful of Dollars, etc.). Talk about the influence that Sergio Leone's cinematic composer, Ennio Morricone, had on you and your Killing Fever album. 

Sarah Vista:  I am so glad you dig the link and textures in my work. Making music and Western movies are two things I am very passionate about, and I’m glad to have married the two influences in my music. Morricone and Leone fit together like biscuits and gravy; the sound is such a huge integral part of the picture. In fact, Leone used to often actually shoot the scenes with the actors and the music played on set. The depth, the layers, space and sometimes simplicity of his music is to me, the perfect sound and is a great influence on my work. I’ve got some really special things planned for my next album, so I’ll be delving even deeper into the cinematic sound, and I can’t wait. 

"Killing Fever," the first song off the album, is moody, threatening, yet undeniably infectious. Much of the album speaks to the timeless appeal of the murder ballad. How do you balance your dark material with the need to entertain your audience? 

Sarah Vista:  Thank you for the compliment, and that’s a great question! Murder ballads can easily be a bit too literal. Currently, I’m not keen on listening to or making really depressing music either. For fear of over analyzing it, I’d say the most important thing to my mind is to consider balance. Exploring dark subjects and retaining a sense of humour and fun in the delivery and lyrics is a fine art. Slim Cessna’s Auto Club’s “A Smashing Indictment of Character” is a golden example of this. I’m crazy about this song; it helped me overcome a really dark time in life a couple of years back. 

I do write and sing about some very serious subjects, but hope I deliver them in an entertaining way, because that’s how I feel right now. There are many songs I’ve written and cast aside because they just feel too dark, and I need my sound to be uplifting at the moment. I’ll likely revisit them some time when the feeling is right or something’s really got my goat! 

"A Day Late and a Dollar Short" and "Better Off Never Than Late" are up-tempo, jaunty romps and serve as the lightest and sunniest fare on the album despite their lyrical content. From where do you draw the inspiration for these songs? 

Sarah Vista:  A Dollar Short was purely a short, fun experiment with your wonderful American hillbilly vibe. As Killing Fever developed, I decided perhaps it was a little too dark for a debut, so to hark back to balance again I kicked a couple off and bought these two songs in for a little light relief for the listener. In truth, I actually wrote “Better off Never than Late” because my young niece Lucy is a brilliant singer, and I wanted her to experience a recording session. So, I had to write something where someone didn’t die so that my brother and his wife would allow her to come again. I’m not sure an 11 year old laying a body under concrete and laughing her way to the bank would be entirely appropriate ... “Hey Mom, look what I did today!” haha...  It’s fun to play lighter stuff live so people can dance, but my heart lies in the heavier, western edge of the sound.

In many murder ballads, the victim tends to be the woman. In "Now You Are Sleeping," the tables are turned with the woman poisoning her husband. "Madame Moustache" is clearly a lioness as well. Was there a deliberate effort to balance the gender scales with this album? 

Sarah Vista:  Oh yes, there was a concerted effort. I was agitated growing up in what I felt was a bit of a secondary role to the men, in life and on screen. Most of my favourite westerns were led by male heroes, then I saw Johnny Guitar as a little kid and was like,  WHOA, there we go. I wanted in! I went on to watch all the women in westerns and study the characters they portrayed and that sense of empowerment helped me cope and deal with some of the terrible tragedy and bad times I encountered in life. 

We noticed you also do podcasts on your web site (www.sarahvista.com), which you call the Sarah Vista Social Club Podcast. What's the idea behind the podcast and will this be an ongoing feature of your web site? 

Sarah Vista:  Funnily enough, I think I’m going to pick it up again! I really enjoyed doing that podcast. I have lots of subjects I’d like to study and talk about. It’s finding the time to tear myself away from writing songs and put one together! I’m working on a few new things now whilst on “lockdown”, so there should be plenty content out there for people to hopefully dig soon. I set up a “Sarah Vista Social Club” members area for anyone wanting a little more content. It’s free, and on my website (www.sarahvista.com) under SVSC. 

After your successful debut with Killing Fever, you have three new projects in the works. Tell us a little bit about these projects, when you plan to release them, and what 2020 means for Sarah Vista. 

Sarah Vista: Thank you! As long as the pressing plant can still deliver I have another vinyl single on the way called “I’ll Die With My Boots On.” It’s a song I wrote about the amazing true story of a proud murderess who was the first and last woman to be hanged in the state of Arizona. The B-side is a female jail song. I’ll also be releasing something very special to me, an impromptu acoustic version of the song recorded at Dale’s Wat-Sun studios on the day of the Ameripolitan Awards in Memphis. He’s such a talent and a lovely, fun guy, and I loved the vibe and sound in his studio (engineer Cris Burns took care of the session). It all happened so fast, we did two takes and all got changed and literally ran to the awards. I wish it was for longer as I enjoyed it so much, but it was an honour to be invited and record there. I have a fun little duet called “My Baby’s Bad” that I’ll release as a download too, hopefully bring a little cheer! 

I also have a new side project I’ll be announcing soon, which has come out of this enforced lockdown thing –- I’m doing my best to stay connected to my fans and friends whilst tiding myself over creatively until I can get back in the studio, back to the states and on the road full-throttle! 

This will be followed by a brand-new single I recorded in the studio of the amazing German artist Johnny Trouble. I’m proud of the song, and hope this release will signify the start of a new era for me musically. It’ll be followed by a second trilogy of vinyl singles and my new LP. I have two videos I’ve planned to shoot for it, so until flight restrictions are lifted, that will all be on hold. 

In betwixt it all, I have tours and some great festival shows booked, (including coming back to the US), but as we’re all waiting with baited breath for what happens next for the world, who knows. I’ve got all paws crossed for a safe, swift, happy return to the roots music world we all know and love.

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