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PressRichard Bicknell: a unique voiceBy Peter Cooper Singer stands alone on the Americana scene — at least when he's not standing on stage with his heroes Richard Bicknell had met heroes before. In the 1980s, he met Loretta Lynn in Washington, D.C. A photo taken of them shows her in country star garb, him with bleached-out white hair and smudgy black eye makeup. But no such encounter prepared him for the Atlanta night when the then-fledgling singer worked up the nerve to give Nashville song-poet Townes Van Zandt a version of Van Zandt's Waiting Around To Die that Bicknell had committed to tape. Read more.... Atlanta
Creative Loafing Just as Steve Earle probably wouldn't like to be branded a heterosexual Americana singer/songwriter, Atlanta veteran Richard Bicknell doesn't particularly want to be known as a homosexual one. True, a gay country artist (even alt-country) is more notable than a straight one, based on numbers alone. And Bicknell's day job — as a hair colorist in a Buckhead salon — only encourages the cliches. But, in fact, Bicknell hasn't made his sexuality an issue during his first 15 years on the local music scene — first as part of the Lost Angels and more recently as a solo artist with backing band the Shameless Lovers. During that time, Bicknell has associated himself more as an acolyte of the classic Texas songwriters — Townes Van Zandt, Eric Taylor, Nanci Griffith, Denice Franke and Ray Wylie Hubbard — who've been inspirations and, more recently, friends and collaborators. Bicknell's third album, the new Baby Lightning, features songs by Van Zandt, Taylor and Hubbard, as well as another songwriting friend, David Olney, and appearances by Taylor and Franke (in addition to fellow Atlanta music vets Kelly Hogan and Anne Richmond Boston). He even dedicates the album to Emmylou Harris, whose recordings introduced Bicknell to many of these songwriters. But what stands out most on Baby Lightning are Bicknell's originals — particularly "D.P.L." and "Sebastian at the Metro," two songs that, for the first time, find him taking on gay perspectives in his songwriting. While Bicknell still doesn't want to be pigeonholed, it's this material that turns an otherwise strong album of rootsy pop into a truly unusual, original statement. "D.P.L.," Bicknell admits, "is pretty much completely autobiographical." The song tells the story of the "small-town queers" growing up, as Bicknell did, in Columbus, Ga., who found sanctuary in the city's only gay bar, the Deep Purple Lounge. "Sebastian at the Metro" draws equally from real-life memory. Its central image — a man (prostitute?) so immersed in dancing that he kicks aside a dollar laying on the floor — is Bicknell's metaphor for true passion. "I've always hesitated to write about some of these things, because the last thing I want is to be labeled a gay artist," Bicknell says. "I didn't really hold anything back on this record; I let the songs come as they would." But while the gay angle makes the songs unusual, what makes them great is the same emotional element that elevates the work of his Texas peers: the sense of tragedy mixed with humor, of injustice with grace, of poetry and desire. It could be that Bicknell's newfound willingness to let it all hang out emerged from his health battles in recent years. Around the time of his second album, 1999's Mayflower, Bicknell was diagnosed with cancer. While the disease and its treatment left him unable to promote the record, he eventually emerged with a clean bill of health. "I had sort of crawled up out of a grave," he says. "The record's called Baby Lightning after the first song we recorded [which didn't make the final cut]. When we recorded it, I was pretty much a concentration-camp looking thing, holding onto to the microphone so I could stand up." Bicknell hopes this record provides the opportunities for touring and expanding his audience that weren't possible with Mayflower. He also hopes he doesn't become the token gay guy in the pages of No Depression magazine. "I like the way someone like Michael Stipe has handled it — the way a lot of people are able to handle it now," he says. "People just see them as artists. [Being gay] is part of their makeup and enters into their songs. But I certainly don't want to be defined by it. That would be horrible." Atlanta
Journal-Constitution Richard Bicknell — The warm, rich vocals and admirable songwriting abilities of this talented local make for an entertaining night of music. Check out his most recent CD, Mayflower, which includes a version of Eric Taylor's "Dean Moriarty" with the songwriter producing and joining in on vocals. Creative
Loafing David Olney is no stranger to Atlanta and his songs resonate with a craftsman's touch. Texas songwriter/guitarist Eric Taylor is as warm and comforting as a fireplace on a winter's night. Denice Franke, another Texan on the bill, brings the sweetly wizened voice of a woman who has lived to tell the tale. The honey-voiced Bicknell brings his down-home torch 'n' (occasionally) twanging folk rock to this show. In a truly collaborative spirit the four will perform together, with Bicknell's band backing them up. Tonight's in-the-round show should be a joyful wonder to behold. Eddie's Attic (Smith/Robertson) Atlanta
Creative Loafing When Athens fiddler David Blackmon fell while playing Frisbee last July 4, he had no idea his little tumble in the grass would crush two vertebrae and leave him temporarily paralyzed from the neck down. Likewise, Atlanta singer/songwriter Richard Bicknell couldn't have imagined his bout with pneumonia last summer would lead to a lymphoma diagnosis just before his Aug. 10 birthday. Yet less than a year after their physical hardships began, both musicians are back in action on the local scene, with shows planned in town this week. Bicknell, who earned his BFA from the Atlanta College of Art in the mid-80s, turned his creative efforts toward songwriting after seeing songwriter heroes Townes Van Zandt and Jimmie Dale Gilmore perform at Blind Willie's. He was seeking distribution for his third album, the earnest and tuneful Mayflower, when he learned of his lymphoma. After the inevitable weight and hair loss from chemotherapy, Bicknell was left weak but apparently cured. He credits "great doctors and friends," as well as music's healing power. "I thought I would be more vain and not go out [in public]," he says. "But even though I was weak, I would still go out and listen to music. Instinctively, I knew it was very healing for me." Atlanta
Journal-Constitution Four years in the making, this second solo project from Atlanta singer-songwriter Richard Bicknell was well worth the wait. Mayflower finds Bicknell, the former frontman of the Lost Angels, in a wildly adventurous mood. He chooses his material wisely, combining his beautifully crafted roots-rock originals with covers of songs by musical heroes: Robin and Linda Williams, David Olney, Eric Taylor and others. The bonus? Olney and the others popped by the studio to lend their talents to the project. Through it all, Bicknell's mournful vocals anchor everything with their rich, emotional rawness. Highlights include the reflective "Barrymore Remembers" and the gorgeous "Secret Remains." - Richard L. Eldredge Atlanta
Journal-Constitution Local folk-rocker Richard Bicknell insists he wasn't distracted during the four years it took to record Mayflower, the follow-up to his 1994 solo debut, Sometimes Blue. "We took our time and did it right," says the singer-songwriter based in Little Five Points. But he admits that after that length of time, "it's difficult to know what you're going to end up with. Bicknell says he spent the time honing original songs, poring over choices of songs to cover, and rounding up guest artists including acclaimed folkies Eric Taylor, Katy Moffatt and David Olney. Taylor and Olney join Bicknell on Sunday at Smith's Olde Bar to celebrate the release of Mayflower. Taylor also performs at Eddies Attic on Saturday. The four years were well spent. More ambitious and tuneful that the low-fi Sometimes Blue, Mayflower juxtaposes Bicknell's evocative originals with swell versions of songs by Steve Forbert, Townes Van Zandt and others. A spiritual quest theme links many of the tunes. Bicknell describes "Jane Eyre's Coat," an early high point, as a "prayer for a long journey" and the last track, "Mercy Train," as "a prayer for little bit of rest." A lot of the music I'm attracted to is about how hard life is," Bicknell says. "But I think the songs are hopeful. Most of the, anyway." Southern Voice Also in the business of making music is Richard Bicknell, whose latest CD, Sometimes Blue (Exocet Records), is out in stores after a year and a half of hard work. I'm no music critic, in fact I'm not a critic at all. But after a few hours of listening to Bicknell I can tell you what I think. With just a hint of a twang, Bicknell sings about things that matter. Imagine taking a ride in a big convertible in some wide-open place. I can just see the video. And Bicknell is certainly heading in the right direction for that type of professional success. The one cover song on the CD is Nanci Griffith's "Cradle of the Interstate," so you get an idea of one of his influences. - Peter Newton I don't know which impresses me more, this guy's deep powerful singing voice or his insightful choice of material. With a voice that's dark and expressive, this guy is enthralling whether he's singing about lost love, empty highways, harbor towns or Drew Barrymore's granpa — but especially the latter.
-Gregory Nicoll Atlanta
Journal-Constitution STRIKING A CHORD: Expect a few good war stories Thursday night when local singer-songwriter Richard Bicknell performs at Smith's Olde Bar. After all, Bicknell's last gig was opening for Elton John at Saturday's sold-out Lakewood Amphitheatre show. "We got the call around noon [Saturday]," Bicknell said. "I didn't have time to get excited — I was too busy trying to find the band." Bicknell's guitarist, Steve Boyes, proved the most elusive. "He was out playing golf, and his wife, Sue, got in the car and drove to every course in town until she found him," Bicknell said. Boyes got to the gig 20 minutes before showtime. And how did Bicknell cope with playing for 16,000 of John's fans? "I'm more nervous playing the Freight Room. You can see the faces in the audience there!"
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