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Scott Merritt Emerges From The Cottage

by Bill Monahan (photo courtesy of Randy Sutherland)

If you are someone who recognizes the name Scott Merritt as a songwriter of promise from the 1980’s who toured with Jane Siberry and recorded with Daniel Lanois, then it’s as if you’ve been let in on a special secret.

Despite releasing only three albums in the past twenty-five years, Scott Merritt is still considered one of Canada’s best and most underappreciated singer-songwriters.

After some commercial airplay of his early songs, he was signed to Duke Street in Canada and IRS Records internationally.  Unfortunately both labels folded not long afterward.   A legal mess with IRS prevented him from recording for several years but he wasn’t entirely frustrated with the situation.  He hadn’t been particularly comfortable being marketed as a commodity.

“Yeah, my hands were tied, but I wasn’t in much of a mood to raise a stink to be honest,” he explained to Innerviews, “I had become SCOTT MERRITT in capital letters and it didn’t feel real anymore. There was a toxic feeling to it at an artistic level. So, I.R.S. had me in a position, but I wasn’t in any position to record anyway. I didn’t want to go back into that factory. I had really got to a place where it wasn’t fun and I had to promise to myself — something most of us do, but never keep — when it’s not fun to do, do something else for a while. So, at the time, the idea of a career wasn’t very attractive. I lost my taste for it.”

Since those early days, when promising record deals bloomed and withered with the vagaries of the business, Scott Merritt has spent most of his time working as a producer in his Guelph studio that he calls The Cottage.  Artists like Suzie Vinnick, Stephen Fearing, and others have made their pilgrimage to The Cottage for his producing services.

While he has released relatively few records in his career what they have in common is that every one has been greeted by effusive critical praise for an artist whose music and lyrics both come from a unique and moving place.

When he was young and riding high, Scott Merritt had a reputation and something of a guitar and effects wizard which stood alongside his reputation for evocative and poetic lyrics.  He never thought of himself as a commercial artist.  It took him by surprise when his second independent album “Serious Interference” in 1981 ended up on some commercial radio playlists and labels came calling.  The tours and awards were short-lived and strangely unsatisfying.