Charlie Dush - Photo by HH

How Was The Show: When did you get started playing music? Who were your earliest influences?

Charlie Dush: I started playing guitar when I was 11 or 12. The earliest influences ranged from re-runs of the Banana Splits and the Monkees, my older brother Brad and his friends who all played guitar and my sister Dawn who always seemed to be coming home with new albums by bands that are now considered "classic". But the biggest influence was probably the few albums that my parents had -- Elvis, Buddy Holly, Kris Kristofferson, Charlie Rich, American Graffitti Soundtrack, Beach Boys, Dean Martin & Boots Randolph. I was always drawn to 50's rock with cool guitar licks like “Johnny B. Goode” and “That'll Be the Day.”  My brother Brad had a guitar class in high school and he'd bring home a nylon sting guitar that belonged to the school. When he wasn't around, I'd sneak it out and mess around on it. Whenever his buddies were around, I'd pester them to show me chords or songs. I tried taking lessons when I was 13, but I didn't like it. They were trying to teach me to read music and I just couldn't make sense of all those dots. I'd never practice my lesson until a half hour before it was time to go. That went on for a few weeks and finally the instructor just got frustrated and dropped me. I just wanted to learn songs.

The big turning point was when I started getting into the Beatles. I bought two music books called "The Compleat Beatles" that coincided with a documentary of the same name. I remember going to Maplewood Mall with my mom to get those. Each one cost $20. We only had enough cash to get one. So I went with Volume 1 because I was more familiar with the earlier tunes at that time. A couple months later, I had enough dough to pick up Volume 2. All throughout junior high, I pretty much stayed in my bedroom with the boom box and the music books trying to play along. For some reason, music and playing guitar seemed like such a refuge. I was pretty shy and not too involved in the "social scene". I just felt so content sitting on my bed, playing along with tapes. I never tried to sing, though.

Then the high school years came along and I started getting into bands like Led Zeppelin, Cream, Pink Floyd, The Doors and Kinks, sneaking the occasional beer and what not. Towards the end of high school, I'd hook up with friends and ditch school and hang out at the park and bring along the acoustic. I was at a point where I could play songs, but just wouldn't consider singing. Then as the years went on, I eventually got into cover bands and tried to sing a song or two. It was a great experience of learning how to be in a band and play along with others, and I did that all through my 20's. I never wrote any songs at that point, and didn't have a clue how you'd even go about doing that.

Then I bought a 4 track cassette recorder. I'd mess around with music ideas, and I liked that. It was exciting making something up. I wrote my first song with lyrics and singing around my late 20's. From that point on, I've had the bug. I love the feeling that comes after writing a song. I could stop right there and be happy. I love recording too, but I think the purest joy is right after finishing a song, sitting there with an acoustic guitar and a pad of paper. I gradually got away from the cover band situation and started playing in original bands. I've never really had any kind of goal with music. I'm not trying to get anywhere with it, I just enjoy the process. I've been able to work through a lot of life’s ups and downs when I put my feelings into a song. It's a lifelong journey and hopefully I'll continue to learn and get better at it.

HWTS: What do you enjoy most about the Twin Cities that makes you want to live and make music here?

CD: Well, first of all, I'm a St. Paul guy, born and bred here. Growing up, Minneapolis seemed like some foreign and exotic land. I didn't really get a feel for it until I started playing in bands and playing at places like Fernando's, the 24 Bar, 7th St. Entry and the Uptown. Then I realized Minneapolis is pretty freakin' cool. I started meeting other musicians and friends that over the years really opened my eyes. I think the Twin Cities has a fantastic arts/music community, tons of talented and interesting people and places. I think there's a really supportive music scene here. I've never felt like "someday I'm gonna leave this one horse town and move to the big city". We have it all here. I don't think I could live somewhere else that didn't have the seasonal changes that we have here. I think that really has a huge impact on the way people create art and music. I tend to write more during the winter.

HWTS: Tell me about your writing process – are you more of a “I’m gonna sit down and write a song” guy, or do you wait until songs are screaming to be let out?

CD: I'm definitely not a "I'm gonna sit down and write a song" type of guy. I have to be compelled by some kind of emotion that needs to get out. It could be months before I feel inspired. But once an idea pops up, I get pretty focused. Sometimes something happens in 20 minutes and other times it takes a few days to iron out. But I think it's probably best to get it down as quick as possible and not overthink things.

HWTS: After the release of last year’s Breakdown Union, you thought that it might be your last CD for a long while, but you turned around quickly with September’s Sun – what was the impetus for the change of heart?

CD: Breakdown Union came on the heels of some really tough times. I had just lost a job that I'd been at for 10 years due to corporate re-shuffling and I was getting divorced at the same time. After the CD release show, I was pretty fried emotionally. I just didn't really care to do anything musically. I started a new job around that time too, so I was kind of focused on getting back into the day job routine. There was a brief attempt at getting a steady line-up of a band together. We did 2-3 shows, but it just fell to the wayside. But from that, Kevin Brown, Bart Bakker and I decided to keep getting together once a week as a kind of a "boys night out" thing -- beers, songs and BS. So now were sitting down with acoustics, Kevin had just got a mandolin and started using that. I wrote one or two songs over the next six months, with no specific plan in mind.

Then November rolled around and I found myself unexpectedly out of work. Again! That was pretty much the impetus for September's Sun. I decided for better or worse, I'm going to take a few months off, damn the consequences, and focus on writing songs. I'd play my guitar everyday, working out ideas sitting at the kitchen table, looking out the window at the snow. So Kevin, Bart and I kept practicing once a week, but shifted our focus to learning the new songs. That's how Kevin's mandolin worked its way into the mix, just a happy coincidence. It seemed natural cause that's the way we had been practicing. So, I think just going through another trying time inspired me to come up with some new songs.

HWTS: You got some pretty heavy talent working with you on this CD, including Noah Levy, Dave Boquist and Marc Perlman. Talk about the recording process that went into September’ Sun.

CD: Yeah, it was definitely an honor and pleasure to work with those guys. I'm a huge fan of all the bands they've been involved with. They can certainly take my three chord songs to another level. But everyone involved is incredibly talented. Kevin Brown on lead guitar and mandolin -- I've know him for 20 years. He was already a seasoned pro when I met him and I was a total green horn. Bart Bakker plays bass on all the songs except for "Hung Up On You" which features Marc Perlman. Peter J. Sands played Hammond organ and various keys. Joe Loskota adds some cool honky tonk piano. Mike & Kiki Lane were a really great help. Kiki is working on a new album of her own that sounds fantastic. David Beckey helped with some back-up vocals and acoustic guitar. His latest with the Autumn Leaves Long Lost Friend is an excellent listen. And also my friend Brian McGuire, who added touches of sitar and tabla to "Sorry". Brian is a really good songwriter. He's also in the Beatle tribute band Rubber Soul as Paul McCartney.  A must see for any Beatle fan.

As far as the recording process, it's pretty much been the same for all the albums. Noah puts down the drum tracks while I do a scratch vocal and guitar, although this time around, I've kept some of my "scratch" vocals and guitar parts. Then the next few months are spent overdubbing everything else, but probably only working on it 2-3 days a week. The mixing, I do pretty quick, trying not to overthink it. Then get it mastered by Ed Ackerson, something he has done for me for the last three records.

HWTS: What song off of September’s Sun do you think is the cornerstone to the album?
CD: You know, the one or two songs that I think are the cornerstone songs haven't been the ones that people who have heard it so far comment on. I think most people who hear the album will probably connect with the song they can relate to most. I'd rather not set up one particular song as the cornerstone, because what I think and what others think isn't always the same. So, if people are kind enough to buy the album or listen online, they'll find the cornerstone song for themselves.


HWTS: Your CD release party will be Saturday, November 1st at Lee’s Liquor Lounge. What are we going to see there?

CD: The band for the evening will feature Kevin Brown on lead guitar/mandolin, Bart Bakker on bass, Mark Devaraj on drums, Joe Loskota on keys, Mike Lane on 12 string acoustic/back-up vocals, and Kiki Lane on back-up vocals/percussion. Then the Belfast Cowboys will be kicking ass with their Van Morrison tribute. They are outstanding and always draw an enthusiastic crowd. So I think it will be a really fun night.

HWTS: Do you have any final comments you want to leave with?

CD: I just want to say thank you for the chance to ramble on and I hope people get the chance to hear the new album September's Sun. Thanks, and hope to see you at Lee's on November 1st.