BACKSTORY: My first band in Brooklyn was called Caitlin Cannon and the Artillery, which succeeded my all-girl CO-based band The Cannondolls (although we sometimes billed as The Cannondolls & Balls) and TrashCannon is the next logical step! It is also the title of the record I’m asking for help to finish. THIS ALBUM, while vulnerable and unclad, won't apologize for being outspoken and transparent. It's meant to champion anyone who's ashamed of their own "trash"- acting as a cheerleader for all the stuff society tells us we are broken for, normalizing humanity in a way that’s funny, real and honest. I'm also getting in touch with southern roots, and at the same time, reclaiming them.
Many songs on the record pay homage to early women's liberation efforts of female songwriters in country music, two traditionally antithetical terms. Icons like Loretta Lynn, Kacey Jones, Tammy Wynette, Bobbi Gentry, Kitty Wells, Dolly Parton, and K.T. Olsen, The Dixie Chicks, and many more, were so clever in the ways they addressed frustrations pertaining to gender battles and double standards, laying the bedrock for young female artists to stand on, and influenced songs on this record that I’ll be sharing in bonus pledge content to come.
Mama’s a Hairdresser Baby’s a Life Offender tells the experience of my mother going to visit my brother in a Maximum State Security Prison in Alabama, which she has done on a regular basis for 28 years since he was a 17 year old kid. She cuts hair enough hair to pay for the plane tickets, and continues to work on advocacy efforts for his release. He has a juvenile life without parole sentence.
I think of this tune as my nod to a Bobbi Gentry Song, who’s most famous for writing Ode to Billy Joe (“a study in unconscious cruelty” -Bobbi Gentry). Her mysterious disappearance from the public eye after 1981is speculated be largely because of years of mistreatment she endured at the hand of the male powered industry, and because of ex-boyfriend, Jim Ford, claiming to have been the one who penned “Ode to Billy Joe” amidst substantial evidence to the otherwise.
Dumb Blonde (“Playing Dumb’s the Smartest Thing a Blonde Can Do”) is my bow to Loretta Lynn, who, while not blonde, and not dumb either, still grew very sick of playing at it. One of her more feminist anthems “The Pill” was banned from radio upon release in 1975, while “Hide My Sin (A-b-o-r-t-i-o-n N-e-w Y-o-r-k)”-1971, “Woman Child”-1972, and “You’re Having My Baby” 1974, not banned.
Going for the Bronze, (I Ain’t Going Back in Your) Tool Bag, My Man, and Better Job are like salutes to humorist Kacey Jones, who toured the bible belt with her satyrical band “Ethel and the Shameless Hussies” performing songs with titles like, “Last night I really Laid Down The Law,” “I Thought he was Mr. Right, But He Left,” “I Can Always Get Skinny, But You'll Never Be Tall,” and “A Woman’s Drinking Song”.
Other songs examine other kinds of garbage- my garbage. Family of origin in Daddy-O-Mine and addiction in Drink Enough and Deliver. The remaining titles: Pin Cushion, Barbers and Bartenders, and My Love Is a Cannonball round out the newest full-length album, TrashCannon!
I don't know if I would have the courage to endeavor here without support of (producer) Megan Burtt. This was my first time working with a female producer. It was different, perhaps instrumental, in achieving a collection of really honest material. On a vocal tracking day, I was feeling self-conscious about the songs sounding too twangy, so I was singing them straight and sacrificing half of the emotion. Megan turned off the lights in the sound booth and asked me to sing it from the heart because, for art’s sake, it’s more important the performance be authentic than marketable.
My biggest dream ever for this record would be to and take these satirical, toe-tapping, socially conscious little ditties on a nationwide tour (following in the footsteps of humorist Kacey Jones). Getting there will be no inexpensive feat. Taking into consideration every favor I can call in (as well as every reliable friend who will still allow me to lowball them) still leaves me with this projected budget:
- $7,500 Production/Mixing/Mastering
- $2,000 Artwork/Graphics/Photos
- $2,300 Music/Merchandise Manufacturing
- $3,000 Music/Lyrics Video
- $4,000 Triple A Radio Campaign
- $5,000 Public Relations
- $30,000 National Tour
I want to share these stories and include all the people and the friends who have part of this creative evolution. Artists today, even those with the support of major labels, still rely on crowdfunding to make records. Because I am a team of, well, one really, I'm asking you guys to be my teammates. Together, I believe we can create something that's worthy of attention. Knowing everyone's time and resources are valuable, I’m offering some incentives that will make being on my team worth your while:
Risks and challenges
If I can raise $10,000 via Kisckstarter, I will be able to make an amazing record! If I am to meet any stretch goals beyond, I will be able to properly market the record. I have also applied for various creative grants and am hoping they will accept my application to be a contestant on the 100,000 Dollar Pyramid in order to fulfill all remaining financial goal requirements.Learn about accountability on Kickstarter
- (30 days)