By Anita Malhotra
Toronto-based rock singer Sass Jordan’s earthy vocals and powerful lyrics have rocked North American ears ever since she released her debut album Tell Somebody in 1988.
Recipient of a 1989 Juno award for Most Promising Female Vocalist of the Year, she went on the record several successful albums, among them Racine (1992), which produced four Canadian hit singles, and the critically-acclaimed Rats (1994).
Jordan has also worked as a theatre and television actress and was a judge on Canadian Idol for the six-year run of the show. This year, she celebrated the 25th anniversary of Racine by releasing Racine Revisited, a reimagined re-recording of her 1992 album Racine.
Anita Malhotra spoke by phone with Jordan, who was at her home in Toronto, on Oct. 27, 2017 following her tour of the Netherlands and Germany and in advance of her Nov. 7 show at the National Arts Centre in Ottawa.
AM: How has your tour been going?
SJ: I always get thrown by the word tour because in my world, tour means you go out for a couple of months and you don’t even come home at all during that time. Actually, I did do two weeks in the Netherlands and Germany, but I’ve been doing what you could call one-offs. All of that to say, it’s going fantastically.
I’m doing a different type of show starting in November where I’m going to be doing the Racine Revisited album front to back semi-acoustically, but in a format of storytelling. It’s like I’m telling the stories with the soundtrack of the music. So I’ll play a couple of songs, then I’ll tell a story or two, then I’ll play a couple more songs, tell a story. There’s two 45-minute sets of that, which I’m super excited about.
AM: So the stories will be about your life at the time when you recorded the music?
SJ: More about the writing of the songs, which of course includes my life. Just telling the story of the writing of the song and how that song came about. And hopefully the rest of the band will have little stories about what they were doing in ‘92, along with people who are at the show. I’m hoping they’ll want to be involved in the stories as well, or ask questions. I want it to be interactive – as if we’ve all gone out for dinner together and we’ve all had a glass of wine, and now we’re sitting around after dinner just telling stories with music.
AM: Why did you decide to re-record this particular album?
SJ: Because it was the 25th-year anniversary and I think it was the biggest album I had as far as selling. And then also it’s such a favorite with the fans.
AM: What is the significance of the title, Racine?
SJ: When I was kid, we had a place in the country outside of Montreal in a little village called Racine, so not only does it mean “roots” in French but it’s also my roots – from the name of the village.
Musically I was exploring the roots of the types of music that I really adored when I was growing up. That would be the bloodline of the Faces, Rod Stewart Jeff Beck, Bad Company, and the list goes on. Every Picture Tells a Story or Gasoline Alley or A Nod is as Good as a Wink to a Blind Horse. All these phenomenal records that I so loved.
It’s only one of the types of music that I adored when I was growing up, but it’s the one that most suits my voice. Because I also loved Curtis Mayfield and Isaac Hayes. But I couldn’t sound like that even though I would love to. I mean, I wanted to be Chaka Khan. Sadly, that did not work out. So it’s one of them – one of my roots.
AM: How did you go about writing the songs for Racine?
SJ: I had moved to Los Angeles in January 1990 and I was working with all kinds of different people. I wrote a song about Montreal on it that was called “Goin’ Back Again” and the two co-writers on that were actually in Rod Stewart’s solo band – Kevin Savigar and Robin Le Mesurier. And then we had Rick Neigher, who also produced the record for me, and Stevie Salas, who I went on to work with extensively on the next record that I made.
AM: When you were working with other people, did you come into the studio with an idea or a melody?
SJ: No, the way Rick and would mainly work is we would get into his workspace at Sunset Sound in Los Angeles, and we’d listen to songs that we loved that we wanted to emulate. And then it was just grow from there. And he’d go, “What about this, la, la, la, la, la, la, la?” And then I’d start singing over it, and then immediately words come to me because that just happens to me and the songs basically write themselves. It’s the coolest, the most fabulous thing.
AM: So you’re not starting on your own at the piano or something like that?
SJ: No, not me. I don’t play any chorded instruments. My inspiration is specifically lyrically. I will write the melodies because they have to fit with the words that are coming to me. I get inspiration from sitting in the coffee shop or watching a film or television show or reading a book. Or even staring at the sky, or a conversation. Something about it will store in my memory and then it will come from that. I’ll also make up titles for songs and that’ll be the chorus tag-line and then that itself will dictate the story to me. Continue reading