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Ellis Paul and Ralph Jaccodine featured in C-Ville

March 19, 2013

Can Charlottesville singer-songwriters make a living in the file-sharing age?

Ellis Paul, probably the most successful local songwriter besides Dave Matthews and Mary Chapin Carpenter, began playing regular coffee shop gigs around Boston alongside like-minded folk singers Shawn Colvin, Dar Williams, and Vance Gilbert in the late ’80s. When he ran into real estate developer Ralph Jaccodine at the No Name Cafe in Harvard Square, neither of them knew anything about the music business, but Jaccodine offered to manage Paul at no charge. They raised $20,000 together and formed a record label to put out an album and tour it. Their first year, Paul made $17,000 and Jaccodine didn’t get a red cent, but they established a successful partnership based on trust and hard work that eventually landed Paul a record contract with Rounder, a high profile folk music label.

These days Paul makes his money in a variety of ways, through licensing, publishing, and touring. You’ve very likely heard “The World Ain’t Slowing Down,” the theme song of the Farrelly brothers flick Me, Myself, and Irene or “Sweet Mistakes,” which was featured in Shallow Hal. Or you’ve heard his songs on one of the more than 50 compilation CDs they inhabit.

Paul moved to Charlottesville a few years ago to be closer to his wife’s family, but he still plays close to 200 gigs a year on the road, mostly in targeted, tightly packed weekend forays that include performances of his children’s music during the day and headlining adult venues at night. His last two albums have been fan-funded. He raised $100,000 to make his last one, more money than he’s ever gotten from a record label.

“I was lucky to have established myself nationally before the Internet created the tsunami of change that it has,” Paul said.

If there’s a lesson Paul wants to pass along to younger singer-songwriters, it’s that no matter what the industry is doing, the only way to build a reputation as a singer-songwriter is to write good songs, play them for audiences as much as possible, and, most importantly, find people who believe in you.

“Listen, anything successful that’s happened in my music career has come out of a really personal connection, whether it’s a country artist doing one of my songs or a movie director picking one up for the movies,” Paul said.  “If you don’t have one with your manager then I wouldn’t expect a lot to happen outside of you just working your ass off and them just making money.”

Born Paul Plissey in a rural town in northern Maine, Paul taught himself guitar after an injury in college derailed his competitive track career. He tours alone and expects to command the room with his voice and his guitar, taking the conversation between songs, the ability to feel what an audience needs, as important as playing guitar or singing.

“You have to engage them both from the heart and the intellect. It’s not a craft you can learn until you’ve experienced a bunch of listening rooms where it’s really quiet and you have to rely on the lyric in a different way,” he said.

It’s a lesson he learned from one of his first industry mentors, the New England songwriter Bill Morrissey, who helped Paul find his way onto a Windham Records compilation with a song called “Ashes to Dust”  that first put him in the conversation with artists like Patty Griffin and Greg Brown and gave him a wider audience. Morrissey also introduced him to the music of Woody Guthrie and Randy Newman.

“Bill was the closest thing to van Gogh in the neighborhood. He was somebody who was doing it and was a great artist and had history,” Paul said. “He understood the history of the music and could tell me about people who were doing it in the ’60s who I hadn’t even heard of yet.”

Paul considers himself a link in the songwriting chain. These days, he wears a tattoo of Woody Guthrie, having been tapped by Nora Guthrie to put one of her father’s archived songs to a tune for a tribute compilation. In the spirit of Woody, he calls 10 years on the road “the going rate” for building a fan base. He wants to pass his skills and experience down to a new generation of artists, and to that end he’s taken Peyton Tochterman, another local singer-songwriter, on the road with him as an apprentice for two years. The connection formed after Paul heard Tochterman play a free show at Positively 4th Street, a Coran Capshaw-owned restaurant. Not quite an industry connection, but certainly a Charlottesville one.

As someone who’s been all over the music game, Paul sees the expectations that come with having a major music management company in town as a potential distraction for young artists.

“The Dave Matthews thing is kind of good and bad. You know the fact that Red Light is here and there’s this huge industry connection, I think some people think that all they need to do is be heard by the right person at Red Light and their career will spark and things will happen overnight,” Paul said. “The reality is you have to get out of Charlottesville because there’s not enough happening here to make a living.”

by Giles Morris, C-Ville

updated: 3 years ago