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On October 23, 2006 an album called Tell me about America took its place on the shelves of the Athenian record stores. On its cover a teenaged girl with a vintage look straight from the 50s in a Humphrey Bogart movie style was kind of telling you that you’re about to listen something entirely new, while the Klik Records sign was a clear promise of quality. In the 74 minutes of clean-cut musical pleasure that were following the FedEx job opportunity you were already convinced that you had not just bought a great CD but also a trip to New Yorks’ most luxury hot spots.
The album has been selling a lot since then in Greece and overseas and songs like Mrs Daisy May, Battery Calm and Girl One Day are always in the play lists of many of the country’s sophisticated radio stations. At the info side of one of the most flawless jazzy–freestyle albums we’ve seen in the last years we read the name of the producer: Mr. Sunset Blvd.
George Doudos (Sunset Blvd) started in 1995 with the Delay Exhibition project, while three years later he recorded Spike Tee (Morcheeba, Bomb the Bass) with Michael Blake of the American Alphabet Soup. In 2000 he collaborated with Rootsman and the same year he released Little with J-Walk from Grandcentral Records. In June 2005 he recorded his first personal album Versions of Truth and some time later he kicked off the project by which he’s mostly known until now: Sunset Blvd.
Lost somewhere between the offices of his magazine in Thessaloniki and his personal studio, he is always after perfection in his creative work and aesthetic quality in everything he does. Drinking his coffee always black and being a dear buddy of Marlboro’s cowboy, he has learnt to live his life exactly as likes, keeping a distance from labels that surround him.
» It’s been almost a year since 'Tell me about America', your first personal album as Sunset Blvd, was released. Looking back at the time you were working on it, what do you think was it that made you use such a jazzy and sensitive sound?
Well, my love for African American music was one think but what counted a lot probably was my distaste for the one drum loops and the one bass line tracks, with a theme that you could hardly call a melody. Today’s electronica is at its worst possible moment. It takes a lot of effort to create pieces that are as bad as the ones in the market these days. The jazzy sound and sensitivity you hear in Tell me about America is probably the least possible thing I could do out of respect to myself. I cannot tell you a hundred percent that this jazzy sound is my favorite. But I know how well it can express me, how close it is to the cool sensitive sound I’m after. In music at least, I don’t like being colorless and boring. I don’t believe I have and I don’t want to have howling or silly listeners.
» The difference between music and really good music is that the latter changes the listener’s mood. What is the ingredient that you need to make really good music?
The artist’s music intelligence is one thing. His maturity, up to a point, is another. His disconnection from utopian quests and teenaged wanabee I’m-a-rock-star or I’m-a-dj dreams... Realizing the role of music and the responsibility you have when releasing an album. The sensitivity you have as an individual maybe?
» Do you ever keep a distance from the role of the creator? Have you tried to listen to your music as a listener only and if you have, do you have any favorite pieces and why?
Most of the times I know which tracks are closer to me and which are closer to a radio logic. Many times I feel attached to my pieces. I feel closer to some tunes that I listen to differently, or with a chord that touches me with its simplicity, or with a sad pad. Some time the listener listens to the same things as you do. He enters to a song as much as you do, he lives it and believes in it. This is why you can never fool them. Never ever. They always know if you were honest or a hypocrite and a liar. With all these in mind, I’d choose pieces like Ocean Shores, Cigarette Springs, America! America!, Battery Calm, Mrs. Daisy May. Why are these favorites; Because they’re beautiful. Because no one can convince me they are not.
» What is the most creative time of your day?
Night. 11-6.
» What are you up to these days?
I work with InDesign, Photoshop and other Adobe programs. With Crawford magazine as a small, upper class press. With visual creativity, the “visual graphic arts.” With the letter as a symbol and editing as a form of communication.
» How did you come up with Crawford magazine and who does it target?
Crawford started last August as a new version, a new concept for magazines, which completes me up to the point I allow it to. Its significance is based on texts and images, the unknown story and the other side of the Greek cultural press. Crawford allowed me to communicate in written with the people. From America to Asia. It allowed me to talk a universal language without being limited by a Greek far out reality. I’m proud of Crawford and very optimistic about its future.
» If you had to pick a soundtrack for Crawford which would it be?
Good question. I have never thought about this. New York, New York may be… Unknown among the unknown. If I can make it there, I’ll make it anywhere… I think it goes well with it…
» Any new album coming up?
A new CD album in 2008. Probably February. With lots of tracks, some dancy, other sad, or blues. With bold real-life lyrics and as many melodies as possible. Creative and responsible.
» Differences or similarities of your new work with Tell me about America?
I don’t know how much different it can be. I never do the same albums. It may be touching America and its sounds, Manhattan or LA. Their vibe. It may be a little more street and serious. May be more blue.
» Which is your motto?
Trust no one.
Interview published at GoCulture
