MICK RAUBENHEIMER’S Round Corners’ mini-interviews situate artists outside their given media. He chats to guitarist Nibs Van Der Spuy.
When did you first identify as a creative artist?
I already knew this from age 14 when I picked up the guitar. Within months I was writing my own songs with meaningful dialogue. What was exciting, was the idea that if The Beatles and Dylan were doing it, why couldn’t I? I immediately dove into being a musical poet. The dude who played covers at the local Benoni (where I grew up) steakhouse was not cool in my eyes, at that young age. In hindsight, it takes a different kind of tenacity to be a cover artist, and I do admire some greatly. It just wasn’t for me.
Outside of your medium, what branch of art most stimulates you?
I wish I was a real art aficionado, but I would need to go on a course to discover the breadth, depth and insight that made the great artists great. And what makes a great painting? So I have to admit that I love great photography more and more. My dear friend, Herman Heyns from Surrey in the UK, bought me the most inspiring photographic book ever, Road to Seeing by Dan Winters. This book has inspired my music in recent times.
Which artist/s in said discipline have significantly inspired you, and why?
For me the beginning to the end of The Beatles is the reason why I play music today. 45 years later they still inspire like never before: Their journey and progression is perfection. Dylan still inspires on all levels as well.
I have to point out some individual artists who have shaped me and inspired me:
Steve Morse and his work with the Dixie Dregs from (1977 -1982), their 1978 album, What If is in my top 5 Desert Island albums.
Duane Allman from The Allman Brothers is my guitar guru saint who is suspended in time for me – he is always there for timeless inspiration. The Allman Brothers’ Live at Fillmore East (1971) and Eat a Peach (1972) are also Desert Island, all-time favourite albums.
Tim Buckley, he is also suspended in time for me, always inspiring, Blue Afternoon (1970) and Dream Letter, Live in London 1968, are also for this island. Nick Drake’s Five Leaves Left (1969), Bryter Layter (1970) and Pink Moon (1972), are also for the island.
I love early Bob Seger (1968 – 1975 period), Jackson Browne (1972 – 1976 period), and Bruce Springsteens 70’s period, these were all very important during my formative years.
What, to you, is art’s most important function?
Art/music/photography has to move people and have a spiritual impact on them. Art also needs to serve people. It is such a gifting and a powerful tool and in the right hands can move mountains. Also remembering that we are just the tool and that we are the conduit for a higher purpose: “Shed that ego brother and serve people with your gifting.”
Local creatives that currently excite you?
Guy Buttery, Steve Newman, Tony Cox, Valiant Swart and Eduardo Jaime. Timeless and suspended in time.
What specific work – be it in literature, music, or visual art – do you return to again and again, and why?
The Beatles. They are like The Bible! Like the ever-inspiring psalms and proverbs, the answers to any musical rhyme and reason can be found between Please Please Me (1963) and Let it Be (1970).
Any current project you’re unveiling/wrapping up?
I am currently working on a collaborative duo project and album with the incredible oud player Yasamin Shahhosseini, from Tehran, Iran. She will be doing a nationwide tour with me in SA next year February, with European dates to follow. I am super excited about it!
Who: Nibs van der Spuy
Web: https://nibsvanderspuy.com/stories/discovering-alentejo-portugal/
http://nibsvanderspuy.bandcamp.com/
WS
