Gene Champagne | Interview | ‘Let’s Jet!’
Gene Champagne’s latest solo release, ‘Let’s Jet!,’ is a raw, energetic fusion of punk, power pop, and rock and roll.
Recorded several years ago but only now seeing the light of day, the album showcases Champagne’s DIY ethos, where imperfections are embraced, and the spirit of early punk is alive and well. Known for his work with iconic bands like Teenage Head and The Killjoys, this project marks a deeply personal chapter in his career as he steps out from behind the drum kit to take full creative control. The title track, ‘Let’s Jet,’ exudes a youthful spontaneity inspired by his time with Teenage Head, with its infectious guitar riff and lyrical nods to the band’s legendary frontman, Frankie Venom. The record is a testament to the enduring power of simplicity in rock music, where melody and loud guitars collide to form something timeless.
“I wanted this to be like those records I grew up listening to”
Your album ‘Let’s Jet!’ is a vibrant blend of punk, power pop, and rock and roll. How did you approach it to create your signature sound?
Gene Champagne: I grew up listening to a lot of different types of music but really feel connected to early punk, power pop, and rock and roll, where they all converge with great melodies and harmonies met with loud, dirty guitars. When recording this EP, I wanted to keep all the bumps and bruises. There is often magic in those little nuances that are imperfections. I wanted this to be like those records I grew up listening to, where they weren’t overproduced to the point where the life gets sucked out of them. Simplicity was more the goal, with a less-is-more approach.
‘Let’s Jet!’ has been a long-awaited project for you, recorded several years ago but only now seeing the light of day. How does it feel to finally share this music with the world after such a journey?
I have played in bands for a large part of my life, mostly as a drummer. It’s usually like a family or a team, with everyone having some input and a part to play to reach a goal. Often, there are differences of opinion, and you sacrifice your own ideas to make it a team effort and keep things moving. This time, I’ve done this truly as a solo project: I wrote, recorded, played, produced, and mixed the record from beginning to end myself. I am proud of this record, and finally having it heard by others is amazing. It is being well received worldwide, charting at the top of indie radio, and getting features by popular tastemakers on SiriusXM. To reach beyond the borders of Canada is really something for me, and the validation of finally coming into my own as a musician and songwriter is an incredible feeling. I’m having a lot of fun with this record. It was fun to create and just as much fun getting it out there and getting ears on it because I enjoy seeing how far I can take something.
The title track, ‘Let’s Jet,’ captures the essence of youthful energy and spontaneity. Can you share more about the inspiration behind this song and what it means to you personally?
‘Let’s Jet’ started initially as a guitar part that had been floating around in my head during the time I was working with Gordie Lewis of Teenage Head. We were getting some of his songs written and arranged, and in our laughs and conversations, he didn’t realize that he gifted me with a saying that Frankie Venom of Teenage Head would often use: “Let’s jet.” It really stuck with me, and that was my answer for the guitar part I had lingering around. I loved the slang as it instantly reminded me of one of those movie pick-up lines, like “Do you wanna get out of here?” I knew right then I had my song.
You ask what it means personally. Teenage Head was one of the bands that were my heroes growing up, and to find myself in the band many years later is something I don’t take for granted. I mean, what would my 15-year-old self think? So having a Frankie slang as the main influence of the song is an important reminder of my journey. I snuck in another tip of the hat to the band with a line in the song: “Ain’t got no sense,” which is the name of one of their songs from their very first album.
Your experience in iconic bands like Teenage Head and The Killjoys undoubtedly shaped your musical identity. How did your past collaborations influence your approach to crafting your solo work?
Drums were my first instrument, learning to play them at a very young age. I started when I was around 10 years old, but my father had an acoustic guitar he would play from time to time, and I knew I was already drawn to music from that. When I was around 15, I started to slowly toy with guitar a bit. Around that age, I was really getting into records and discovering music. A friend turned me onto a Teenage Head record, although I knew of the band from the radio. I really dug into the record, and they quickly became my band. A go-to record that I always played, and of course, I bought every new release after that.
I would say those records taught me how to play guitar, as I would often try to play along. Gordie was absolutely the influence on lead guitar parts, and I would learn from his playing. Heck, I still am! I can say the same for bass guitar. I fell in love with Steve’s playing from those records, and I learned how to play bass by emulating his parts and loving his style.
Being in The Killjoys really taught me about the pop side of things and melody. Mike from The Killjoys is a great writer and the main writer in that band. From him, I learned a lot about how notes should rub and counter melodies.
I think learning all of these aspects really influences what I do now. It’s a good blend of both worlds: rock and roll along with power pop melodies.
The loss of your mother and your personal battle with COVID-19 must have been incredibly challenging. How did these experiences impact your creative process and the themes explored in Let’s Jet!?
That was a terrible time in my life, and I learned just how fragile life is. Although those experiences didn’t influence the songs on the record, they were the reasons that releasing the record was put on the back burner. I had finished recording and was very busy touring with Teenage Head and filming our documentary Picture My Face: The Story of Teenage Head. We had one last show to wrap up the year with a live performance for a radio show. It was going to be our last show before we took a break to push the new documentary. My mother was ill and passed away, and I did that last show the day before the funeral. Needless to say, I went into that show pretty numb. Following that, COVID hit around the world and everything stopped. Our plans of touring the documentary instantly halted. After months, and now into the second wave of COVID, I contracted it. This was pre-vaccinations. I fell very ill and, to my worst nightmare, quickly ended up on a ventilator with only a 30 percent chance of survival. I am so very fortunate that I’m here today to tell my story. I learned we are all vulnerable and our time is limited. This is what drove me to get my record out and to no longer wait for the things I want to do. I’m so happy to finally put this out on my terms, and the attention it is receiving is the icing on the cake.
The tragic loss of your bandmate Gordie Lewis must have left a profound impact on you. How does his memory influence your music, both in terms of lyrical content and artistic vision?
Gordie will always be a hero to me. I learned so much from him musically that I will always carry with me. Even though he is no longer with us, I’m still learning from him—his playing and his writing.
I am currently writing new music, and I still lean on his influence a lot, and I don’t think that will ever go away. I do have a song written that is lyrically based on Gordie himself. Whether I will ever be ready to share that anytime soon is to be determined.
How does your experience as a drummer inform your approach to songwriting and arranging?
Being a drummer first really lends a hand early on in the writing stages because I can immediately get the feel and dynamics of the songs. Many writers, when demoing their music, rely on a drum machine that they often experiment with and take time to set up to what they think they want. I, on the other hand, have the luxury of sitting down and playing exactly what I hear, or getting to try something different on the fly that benefits the song. I also approach my songs in a way where the drums aren’t busy but keep you moving. They aren’t the focus of the song; I really rely on the melody and the guitars. But I’m conscious of the spaces for drum fills so they will shine in the right spots.
“I have been loving the DIY solo approach”
Looking ahead, what aspirations do you have for your solo career, and how do you envision your music evolving in the future?
I have been loving the DIY solo approach, and I plan to do more as I am already currently writing my next record. I am overwhelmed by the reaction my record and music have been getting from around the world. This is the first time in my career that I’ve had a fair bit of success outside of my own country. Doing it as a solo artist is really an accomplishment I never thought I could achieve, and it’s now more of a reason than ever to pursue that. I’m having a blast doing this, getting to talk to people like you, and I’m also trying to enjoy all the little wins I can find along the way.
Let’s end this interview with some of your favorite albums. Have you found something new lately you would like to recommend to our readers?
I have a lot of favorite albums, and some of these include The Ramones’ ‘Rocket to Russia,’ Teenage Head’s ‘Frantic City,’ The Boys’ ‘The Boys,’ The Hoodoo Gurus’ ‘Mars Needs Guitars,’ The Smithereens’ ‘Especially for You,’ Teenage Fanclub’s ‘Bandwagonesque,’ The Beach Boys’ ‘Surfer Girl,’ and so many more.
Lately, I have been digging into Brad Marino’s records—I love his music a lot. I’m also digging The Anti-Queens’ new record ‘Disenchanted.’ I’ve really embraced finding new music, which is something that got lost on me for a time, as I kind of felt like guitar music was going away. Now, I go down rabbit holes and find myself binging on so much great music out there that speaks to me.
Thank you. Last word is yours.
I just want to thank It’s Psychedelic Baby Magazine for taking the time to speak with me with some great questions. I’ve enjoyed speaking with you on this journey. And for those of you who took the time to read, I thank you. Hopefully, you will get yourself a copy of my new record ‘Let’s Jet!’ on YeahRight!, which is available everywhere digitally, or we’d be happy to ship anywhere worldwide.
Klemen Breznikar
Headline photo: Gordon Hawkins
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