"IT'S ALL HAPPENING"- A CONVERSATION WITH CLINT NEWMAN OF LETTERS OF ACCEPTANCE

To be blunt, Kentucky's Letters Of Acceptance continue in the tradition of kiwi influenced underground pop tinged with Big Star hooks and classic rock song craft (see Dylan, Velvets, etc.). While the group started out as an acoustic duo of John Harlan Norris and Clinton Newman (Bird Of Youth), the two eventually grabbed Lexington heavyweights Scott Whiddon and Tim Welch to round out bass and drums in the group. All of the album artwork, show posters and videos are done in house as Norris is a professional artist (and a damn good one at that). I went to high school with John and learned a lot from his musicianship and constant flow of creativity. Clint I met through John and we had a stint in a music project. Scott and Tim I know from kicking around the Lexington music scene for years. LOA are 100% salt of the earth people and pros at what they do. I reached out to Clint to ask a few questions and have some fun.  They have several releases out including the new five song ep "Shadow Problems" which is available in the link below. Thanks to the band and thanks to you the readers for checking out our blog as usual. 

-Mikey, 15/1/2023

Mikey- First things first, I want to talk about John Cougar Mellencamp. I’m having a moment with his music. I distinctly remember being at a neighbours house and getting goose bumps from “Pink Houses” blaring out of their stereo. I have no idea why I was in this persons house as I was a young kid and they had no kids but that’s the way shit was in my world back in 1986. I’m also aware that this is a gateway to discussing Springsteen (which I’ve also been listening to a lot of as of late) but I have no interest in discussing him. What’s your take on Johnny C? 

Clint- I love practically every JCM radio hit, and then some.  I have older cousins from a small eastern KY town who were teens in the early to mid-80’s when he was getting big.  They were big pop rock radio consumers and his music was caught up in this romantic view I had of their life.  "Jack & Diane", "Hurt So Good", "Ain’t Even Done With the Night".  "Pink Houses" for sure.  I especially love "Small Town" and "Cherry Bomb".  His tracks always sound fantastic and swing really hard.  He wants people to dance.  

"Dance Naked" and "Human Touch" have some really good tracks.  When I moved back to KY I seriously thought about starting a JCM cover band, specifically for wedding gigs.  It would be a slam dunk.  I’m only scared that we’d be TOO good, and JCM would catch wind of us and come beat the shit out of me for riding his coattails.

Mikey- He could’ve possibly picked members from your band for his own, put ‘em on that sweet payroll. A fact about the Coug: I won a copy of his 1991 compact disc “Whenever We Wanted” featuring the single “Get A Leg Up” by being the twentieth caller on the local radio station or whatever  I listened to this for a few weeks until I heard “Smells Like Teen Spirit” and suddenly pretended he never existed until a week ago. Another fun fact: had a release on the outsider Bloomington label Gulcher Records back in the late 70’s (home of MX-80, Dancing Cigarettes, Magick Markers, etc.). I also just remember since starting this interview that John Norris (Letters of Acceptance singer/guitarist/songwriter/painter/visual artist) and myself saw Johnny at Farm Aid in the 90’s. We were primarily there to see Neil Young and I could've given two shit about Cougar. at the time. 

Off topic, I know you’re a Fall fan. Anyone else in the band keen? How did MES get his hooks into you? What’s your favourite albums? Least favourite? 

Clint- I don’t know if anyone else in the band has spent much time with them.  I think they do have something to do with the way I think about the function of lyrics.  I love The Fall but wouldn’t call myself a true deep head. The first Fall record I got was This Nation’s Saving Grace, after reading about them for a long time and not knowing what they sounded like.  Maybe because it was the first one I heard, maybe because it grooves so hard and that’s my weakness, but that will always be my favorite era. My other fave releases are more compilation albums - “Hip Priest and Kamerads” is what I also listened to a ton. That and the Peel Sessions box set. 

I like The Fall for probably the same reasons as everyone else.  They come across like a bold, unknowable authority.  Charismatic and absurd.  The way MES inspires devotion, sometimes I think they appeal to the secret authoritarian in us all.

Mikey- Have you read any books on The Fall? Outside of MES’ “Renegade” autobiography, I’ve yet to crack any open. I know one time member Steve Pringle has a new one out that is apparently a great read. I saw a great talk last summer on The Fall, Joy Division and their connection to witchcraft and sci-fi in 70’s Manchester by John Doran (editor of online Brit rag The Quietus). Apparently both MES and Ian Curtis used to frequent several of the same bookstores, soaking up all of the esoteric info they could. Doran pointed out various mystical aspects of Smith’s writing in depth, connecting connecting the dots to PKD, John Dee, D.M. Thomas’ “The White Hotel”, etc. fascinating stuff. 

Clint- I’ve read zero books on The Fall but I do love the Quietus and John Doran’s writing. I become more and more of an anglophile as far as writing goes. The London Review of Books is gold standard. The best high-end english language writing period. Witchcraft, mysticism, I’ve never really given it a fair chance. I’m more likely to read a London Review of books piece about a book about mysticism. 

Mikey- So, Letters of Acceptance, the reason we’re taking today. You met John years ago in college, right? Tell me about those early days if you don’t mind. 

Clint- John and I really met after college.  He was several years younger.  We had friends in between us and that was the connection that led to us meeting.  There was a basement jam session in Louisville one night in the late 90s involving myself and the Nahm brothers and John was there as well.  We played "Talent Show" by the Replacements and I’ve been enamored of him ever since. When I moved to NY, he ended up leaving NY just a few months later to pursue painting but we always tried to play together a little whenever he was in town.  Once I moved back to KY, he was coincidentally spending enough time here for us to start writing and recording songs in earnest.  Once we had enough songs and had played a few duo shows, we decided to make it a full band.  One can only play so many acoustic duo shows.  

Mikey- Do you guys swap records and discuss influences personally and on the band? Like, are your influences on your sleeves or is it a matter of bringing the songs in and bashing it out sans comment? 

Clint- We rarely reference other music when we’re working on our stuff. All our focus is on making the song work, making it stand on it own, make it feel self-propelled. If I reference something, it’s more a reference to writing, rather than “sound.”  I used "Brilliant Disguise" by Bruce Springsteen as a reference for how to organize space in the verse of our song "Blackberry Winter". 

Mikey- Letters of Acceptance haven’t released any vinyl or done any extensive touring. Seems the m.o. has been cassette/digital formats and regional shows. Is there a reason behind this? 

Clint- We went with cassettes because they were cheap and quick to turn around.  Something physical to be able to offer the people.  Vinyl is so slow and expensive.   No one knew who we were, so it felt like putting the cart before the horse.  Also, I feel like very little of the new music being pressed onto vinyl these days sounds as good as music pressed on vinyl back when it was in its heyday.  So often it ends up sounding drained of all color to me.  I’d rather listen digitally or on a CD.  That said, we may press some vinyl in the next year.

We don’t tour because we’re old, have families and jobs.  No one knows us and if we toured we’d lose our asses in this climate.  We’re not going to sleep on floors.  We wouldn’t be able to get up in the morning.  Of course we’d love to tour.  That’s when you get really good.  We try to always book two shows back to back so you get a bit of that tour momentum going.  

Mikey- Do you see an audience growing regionally for LOA since your formation? From my experience, there seems to be a lot of room to grow in Lexington and surrounding areas. Do you have friends/bands you all enjoy playing shows with? 

CLINT: We only really draw an audience in Lexington. Last several shows have been really well attended. But we continue to play Louisville whenever possible. WFPK in Louisville has been giving our new singles some spins which is fantastic and encouraging. We’ve played a few times in Cincinnati and have a show at MOTR coming up. We’re trying. There’s a great crop of acts to play with in Lexington. Bear Medicine, Lylak, Worn Jets, Movie Jail… several great venues too. 

Mikey- How did you and John hook up with Scott and Tim? Ace rhythm section by the way.

Clint- John knew Scott Whiddon from their time living in Baton Rouge.  They coincidentally both ended up in KY.  John approached Scott about playing bass with us.  We got together one night and I instantly felt like it would work.  Scott immediately recommended Tim Welch for drums.  Scott told me that Tim’s favorite drummer was Mick Avory from the Kinks.  Not joking, had someone had asked me, “what kind of drummer are you looking for,” I would’ve said “someone like Mick Avory.”  I still can’t believe our luck.     

Mikey- Speaking of The Kinks, I remember playing with you, John and David Nahm in our short lived holiday band (“Township Resemblance”?) and you sang “I’m Not Like Everybody Else”. That was honestly my introduction to The Kinks outside of “You Really Got Me”. Thanks for the prompt to dig deeper. 

Clint- I think there’s a Big Star/Alex Chilton version which was my introduction to the song but now I can’t find it anywhere?

Mikey- The fidelity and production on the recordings has been top notch, very warm and proper for LOA’s music. How’s the flow in the studio for you guys? Enjoyable? Otto Helmouth obviously knows what he is doing. Any stories to tell about working together? 

Clint- On the cassette releases John and I played and recorded everything in my attic, plus overdubs at a couple remote locations.  I would edit and pre-mix, then send everything to Ray Ketchem and have him class things up.  Ray is an incredible producer/engineer out of Montclair, NJ who I’ve worked with forever.  Check him out at Magic Door Recording.  

The newest batches of stuff were recorded with Otto Helmuth at his home studio in Lexington, KY.  Working there is a blast, start to finish.  We can book three days, record from about 10:30-5 and come out with around 5 songs 75% finished.  Then we either mix with Otto in the room or send things to Ray, depending on schedules. 

Mikey- You’ve worked with Ray in the past while you lived in NYC. If memory serves me, you played in Bird Of Youth and Okkervill River? That was a whole scene in itself, correct? 

Clint- I started working with Ray in 2006 with the Mendoza Line. He was so important to that band and to most every other band I’ve been in. One of those people with endless energy, but always calm. Through Mendoza I met Will from Okkervil River, started Bird of Youth with Beth.  

Mikey- Do you guys party hard at the shows? Like, drink all the other bands riders and start fights? 

Clint- The way we usually party is Scott makes fried chicken and pasta salad, brings to the gig and we all eat while John and I watch Tennis Channel on my phone with the sound off and Tim DJ’s. 

Mikey- I have a friend deep into tennis and I’ve always been jealous of his dedication to following the sport. I read “Open” by Andre Aggasi and Billie Jean King’s autobiography. Throughly enjoyed them both.  That is the extent of my tennis knowledge. 

Clint- BJK is a beacon, for real. What she’s done for that sport, and for sports in general, is overlooked. What Andre went through, painful to think about. I love watching him play even now in exhibitions. 

Mikey- Coldplay or Elbow? 

Clint- Coldplay.  I’ve barely heard Elbow and I kinda like Chris Martin’s singing.

Mikey- I’m sorry, I know that was a stupid question. Sometimes I like Coldplay when no one is looking. Moving along, I watched a decent doc on The Beach Boys last weekend called “Endless Harmony”. I must admit that I’m just now digging into their catalog beyond “Pet Sounds”. Records like “Surf’s Up”, “Holland”, and “Friends” are blowing my mind right now. What’s your take on them? 

Clint- "Surf’s Up" blows my mind every time I hear it. "Columnated ruins domino". But of course Brian didn't write the lyrics. Something about much of The Beach Boys is painful for me to hear. Brian Wilson seems so extra vulnerable, like he shouldn’t be doing this. They make me feel a little guilty. So when you just have Brian’s musical genius plus Parks’ obtuse lyrics, that’s a good combo for me. 

Mikey- Greatest band to ever come out of Kentucky? 

Bodeco

Mikey- I remember you speaking of them years ago in our email chain (remember when groups of friends chatted by email?!) but I don’t know much about them. Will investigate. My buddy Adam (bassist for Kurt Vile) said they’ve been jamming King Kong in the van. Another great Kentucky band that gives me the warm and fuzzies. Lately I’ve been thinking about Lexington’s Go Kill Yourselves (late 90’s “if Frank Sinatra was a vampire and fronted The Afghan Whigs”) death rock destroyers. They were Nicholasville guys and my younger friends and I would follow them around. Much more than mere goth or shock rock or whatever tags bands that wear all black and white face paint get. The music was emotionally charged and the riffs were Thunders/Stooges/Stones t.u.f.f. They eventually started practicing at our house and let us carry their amps and guitars into the bars for which was my intro to the night life. This was right after I graduated high school. I pretty much dropped out of my first semester of college to move in with the guitarist (David Fredrich, now drummer of Lexington’s Gnarly Love) and go through his record collection every night while blacking out on cheap beer. I remember seeing a bill with them and Louisville’s Crain at Area 51, which made no sense aesthetically but I’m sure glad it happened. Eventually my friends and I ended up playing in a space rock type band with Dave called The Electric Kool-Aid Kult. Initially I played drums then moved over to keys. I wasn’t very proficient at either but I had a lot of fun. 

Clint- I am being somewhat willfully obscure picking Bodeco. But they have a specific feel, all their own, irresistible and impossible to copy. I could also say Crain. Specifically the 4 piece version (Speed-era) I saw of them. They played the Wrocklage with Rodan in full glory. 100 percent life changer. King Kong is also an absolutely correct response. I’ve seen them twice in small venues several years ago and they are as great as ever. 

Finally, the correct answer is: NRBQ. 

Mikey- If you could play a show in one place, where would it be? (Venue? City? Wherever). 

Clint- Always have a soft spot for the Bowery Ballroom.  I once got to play The Windmill in London, in Brixton.  They had an intimidating dog (dogs?) living on the roof.  I’d really love to play there again.  I recently found out that’s where black midi got their start which makes me like them even more.  Also, anywhere in Scotland.  

Mikey- I’ve yet to visit Scotland but I’m hoping to soon. Looking forward. Any future plans for the band?

Clint- Playing shows, writing, recording, releasing EP’s. It’s all happening. I’m going to say right now my goal with this band is to get big enough to one day do a small tour of the UK. We’d go down a treat. 

Mikey- Clint, thanks for talking with me. It’s been a pleasure. Good luck with the band and see you on the mean streets of Versailles, KY again one day. 

Letters Of Acceptance Site