Tag: shooter jennings

Texas, Townes, and the Truth

Posted on by Justin Hiltner

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In advance of the release of Vincent Neil Emerson’s latest, critically-acclaimed album, The Golden Crystal Kingdom – which dropped on November 10 – BGS moderated a conversation between VNE and his friend and peer, country & western singer-songwriter and song-interpreter Charley Crockett.

Both artists cut their teeth in music venues in Texas a decade ago. In our conversation, they tell the story of how they came to know each other and discuss ways they protect each other within the business. They talk about covering and cutting each other’s songs and the importance of telling their truths.

Emerson’s new album, produced by Shooter Jennings, veers his sound toward warm ’60s rock and folk influences. He opens up to Charley and BGS about its creation process and what is on the horizon for him.

Charley Crockett: What’s up, Vincent?

Vincent Neil Emerson: What’s up, my boy?

CC: Another day, another dollar.

BGS: Tell me where you both are in the world right now.

VNE: I’m in Asheville, North Carolina, right now, at an Airbnb.

CC: I’m up here in San Luis Valley in Southern Colorado.

Both really nice places to be in the fall.

VNE: You ain’t wrong.

Can you give us a little bit of context about your relationship, where you know each other from, and how long you have been working together?

VNE: Charley, you wanna go?

CC: Oh man, I always tell that story; I wanna hear it from you.

VNE: I met Charley in Deep Ellum. We were playing around town, playing a lot of shows around there and Fort Worth. That was over 10 years ago, maybe?

CC: I was trying to think about it this morning. I think it had to be ’13 or ’14.

VNE: That’s crazy, man.

CC: He remembers it being at Adair Saloon; I remember it being at the Freeman. It really don’t matter, ’cause I’m sure it was both places.

VNE: I’m sure we went and had a drink at Adairs or something like that.

CC: I remember I walked up on him and said, “I like all them Justin Townes Earle songs.” And he said, “I only played one.” I always liked what he was doing, and he used to play solo and do the guitar pools up at Magnolia Motor Lounge all the time. He’d be up there smoking a cigarette, picking through them songs like Townes Van Zandt, and I thought, “Oh lord have mercy, this boy is a force to be reckoned with.”

VNE: Man, I felt the same way as soon as I heard you, brother. I remember a couple of nights I saw you at the Freeman with this band. You had a bunch of guys up on that tiny little stage, and you were just ripping through all these songs, taking all these old honky tonk songs and flipping them on their head and turning them into blues and vice versa. I always thought that was so cool, man.

CC: I don’t remember that well, but I guess you’re right. In those days, every gig we played for both me and Vincent, we ended up getting booked by the same folks, or they were all standing together in some bar, no matter if it was Ft. Worth or Nashville or Los Angeles. One way or another, all them same business folks been standing pretty close to me and Vincent. And that’s the truth.

Well, that’s convenient if you like to work together, I guess. Charley, do you have questions you want to dig in on?

CC: You know, Erin, I don’t even know what the hell we are doing?

Let’s talk about the release of Vincent’s new album.

CC: Well, let me just do this then. Everything he’s been putting out with Shooter [Jennings], like everything else he’s ever done…If you sit there looking at Vincent and he surprises you, it’s like, “Oh damn, I didn’t know old boy was gonna do that.” The very next thing he does, it just happens again — every single time. I remember when he was playing “7 Come 11” way before anybody gave a damn about him and was looking out for his interests or his career. He had all them songs in his pocket way before anybody had ideas or designs on him and his business. I’ve said for a long time that “7 Come 11” is one of the best folk songs written out of Texas in 20 years. Remember Central Track, Vincent?

VNE: Yeah, they did a lot of write-ups on music.

CC: I will never forget that stuff when you did that record and what you were doing live. Erin, he was playing for 50 bucks and a case of Lone Star in them dive bars in Fort Worth, you know? He was living in a 10×10 room. He was hardly ever even standing inside of the damn joint.

A handful of us showed up at the same time, and we are all moving on our own paths, but we’ve all stayed pretty close, or we damn sure weave it together quite a bit even if we get way out there, you know, in the territories, we always come back to each other. I think I met Leon Bridges right around the same time that I met Vincent. I met him in Deep Ellum, too. There is a guy who plays guitar with me now named Alexis Sanchez. He had a band back then, and he was playing at Club Dada there for some little festival, and Leon Bridges was standing there in a trench coat and a bowler hat. I venture to guess that me and Leon and Vincent met each other damn near about the same time. There were a lot of other folks like that. Ten years later, especially for some Texas guys, you know, we’ve all grown a lot, and I think we have always supported each other and loved each others’ music. That’s only grown, and Vincent is standing there as one of the premier, original, authentic talents to come out of Texas since the turn of the damn century. I’m not blowing smoke. I’m just stating what is already happening.

VNE: Man, that is high praise. I appreciate you sayin’ that, Charley.

CC: Well, they want all this shit to write about it, but that’s just the truth. He was playing in Fort Worth and like I said, playing for all that low money. They were calling him Lefty. Why did they call you Lefty? I figured it was because you had a black eye or something.

VNE: Yeah, I had my left eye knocked out of the socket one time, and the nickname stuck for a while.

CC: I remember they wrote about you pretty salaciously there in the Fort Worth Weekly. I know a thing or two about that myself.

VNE: I would say it was because they were trying to sell papers, but it was a free publication.

CC: Shit, they are selling advertisements. I think the Dallas Observer is still doing that to me.

He was playing them bars, we were playing them bars. I don’t know which one of us is which, but more often than not, he sure seems like if I’m Waylon, he’s Willie. I have felt like that for a long time. You could change the names. I think about this stuff a lot. The business folks, it is always hard to tell what they are doing, but you can be sure they are rolling dice and betting and gambling on folks. It ends up being, a guy like Vincent that somebody like me can lean on a lot more. We can trust those guys, and I’m real happy with who I’m working with, and I’m sure Vincent is, too. It is the other artists living life for the song that gets us through. I know I feel like that about Vincent, and I feel like that about a lot of other guys I don’t know as well as him.

Kind of like Johnny Cash said, “We are all family, even though some of us barely know each other.” I think it is because we can see each other and know we are in the same boat and in that way, care more for each other than other people would. I think it is pretty serious. It is life and death.

VNE: That’s a good feeling to not feel so alone in that way and have people out there and doing things similar to you. They probably think a lot of the same thoughts. Me and you are good buddies, Charley, and I feel that way, too. I feel like some guys out there like Tyler Childers – I really respect him, and I feel like he is in the same boat as us. I’m not as well known as you guys, but I think none of that really matters. I think what it comes down to is that we are all songwriters trying to make our own stories happen and be true to ourselves and honest to the world. I think that the reason we can relate to each other is the same reason the fans can relate. Honesty will cut through anything and bring people together.

CC: One way or another, them folks we are selling tickets to, they know.

VNE: You can’t fake the funk, I guess.

CC: Eventually, it comes through. Speaking of Tyler Childers, we ended up on the same plane flying from Nashville to Austin recently… I was there for the Country Music Hall of Fame induction and I didn’t want to go. I get real antisocial and want to hide out from everybody and shit, and I went to Nashville kicking and screaming. Tanya Tucker was getting inducted to the Hall of Fame with a couple of other people. Patty Loveless and Bob McDill, who I wasn’t that familiar with. I had thought that he’d written the Jimmy C. Newman song, “Louisiana Saturday Night”, which I know real well. To be honest with you, it is the only reason I agreed to go out there, ’cause I love singing that song. I made a lot of money writing songs off of that song, so I figured I owed whoever the songwriter was. Long story short, there in the last week, I found out it was a different “Louisiana Saturday Night,” regularly mistakenly attributed to Bob McDill cause he wrote a totally separate song called “Louisiana Saturday Night” that Mel McDaniel had a big hit with, and that’s the one that goes,

“Well, you get down the fiddle and you get down the bow
Kick off your shoes and you throw ’em on the floor
Dance in the kitchen ’til the mornin’ light
Louisiana Saturday night”

That was a big ol hit, right Vincent? He did “Baby’s Got Her Blue Jeans On,” and a bunch of shit like that that I just didn’t realize. My naive, ignorant ass goes up there to Nashville kicking and screaming, and that’s how I feel. A horse gets led to water or something like that. I saw Tanya get inducted. I damn near built my career off of my version of “Jamestown Ferry” when I was younger, and I realized that she had blazed that trail for me, and I had not shown her enough respect. I really hadn’t. Same thing with Bob McDill. All those songs he wrote and the advice he gave in his speech, and my dumbass could really shut up and pay attention to these folks.

Then I ran into Tyler going from there. He was flying to Austin to do a John Prine tribute. That’s how it is. When I see Tyler, I’m on a plane. When I see Vincent, it is at Monterey Fairgrounds. We are ships passing in the night. All these guys like Tyler, Colter [Wall], Leon, Vincent. Whenever I see them, they got a big light around them, and it is shining. You just want it to keep shining for them, and for myself, to keep it going,

I don’t know exactly where you want to go with this, Erin, but I’m excited about this record. Shooter was telling me about your songs and offered to send them and I was like, “No, I ain’t gonna do that. I wanna be like everyone else.” I wanna watch this thing get rolled out, and I wanna be excited. I’m looking forward to going through the songs.

Vincent, can you tell us about working with Shooter on this record?

VNE: I met Shooter a few times. Me and Charley were at this festival in Iowa hanging out, and Shooter came up to me and tapped me on the shoulder. I’d met him before at another festival but I’d never talked to him. He turned me around and said, “Hey man, I really like that thing you did with Rodney Crowell.” He paid me a lot of compliments, and since then, we talked, and when it came time to make another record, Shooter was the first guy I thought of. I thought it would be such a cool idea to work with him on an album. One thing about him is he really is one of the nicest people I’ve ever met, and he is a genuine fan of music. He’s trying to make cool things happen. I’m so lucky I got to work with him on it. That is the big takeaway from the whole thing for me was making a real good friend like that and meeting someone who gets me excited about songwriting and about making an album and making music in general.

Since Charley cut “7 Come 11” and you cut one of Charley’s songs for this record, can you talk about what prompted “Time of the Cottonwood Trees” winding up in this pile of songs?

VNE: Oh man – that song. Me and you were on tour together for three months, was it last summer? We did a bunch of dates, and we were on the road a long time, and I was listening to Charley do that song every night. It was a brand new song that hadn’t come out on his record yet. I got to hear him sing that song every night by himself, and I just think it is one of the best songs I’ve ever heard. It is one of my favorites from you, Charley. I think it is a fine example of songwriting. When it came time to make this album, I always wanted to pay tribute to you and cut one of your songs on a record because you cut “7 Come 11.” That really ties back into that whole Willie and Waylon and all those old timers who cut each others’ songs and lifted each other up like that. I just wanted to pay tribute to you, and that’s why I put it on the album.

CC: Shit, I appreciate it. I’ll be excited to get the check in the mail. You surprised the hell out of me with that one, you really did. I’ve always wanted people to cut my songs. Sometimes, I think I’d be better off that way. I have so many. I’ve always cut a lot of songs that weren’t mine, probably about half of them. And I got about a 250-song catalog of published shit. I would guess about 40-50% are songs I didn’t write. I feel like I’ve caught a lot of heat for that. People have an idea about me that I never wrote a single song. I think that’s because we live in an era where, like what Vincent was talking about, where all those folks back in the day, across genres, and it wasn’t just country it was pop, folk, soul, R&B. It was everything. Everyone was cutting each other’s songs. I just really think that to write a great song, you have to learn great songs from other people.

You have to watch out for these publishers these days. They’ll just put any piece of junk out as long as they’ve got control over it. They figured out they can make money selling junk. If you can make more money than ever before selling junk and you aren’t principled, and you aren’t that close to the music, well, they don’t see the reason not to do it that way. I think it feels like a renaissance.

VNE: Specifically in the genre of country music, there is a lot of junk out there. I don’t want to put anyone down. Most of the time, I just try to ignore whatever I don’t like. I think that’s the best way to go about it. I think there is room at the table for everybody, whatever you are into. I just think it is so cool that Sturgill and Charley and Colter and Tyler, all these other guys that are out here putting out real, honest-to-goodness songwriter songs. And not just that, but real country music. It doesn’t matter if it is your song or someone else’s; if you are telling that story honestly, I think that’s great. I’ve always appreciated you for that, Charley. I think you are a great interpreter of songs, and I think you are an even better songwriter, man.

CC: Damn, I’m glad I talked to y’all this morning. I feel better.

I’m glad that we are talking about cutting songs because that is such a huge part of country music, interpreting other people’s songs or reinterpreting a song. It feels like that art was lost in the past 20 years or so and it is having a resurgence. I’m excited that you guys are at the forefront of that, because great songs have more than one life. And it is an opportunity for songwriters to make more money.

VNE: I think it is one of the greatest compliments that a songwriter could receive – to have an artist who they love and respect cut one of their songs.

CC: There is no question about that. That is the best feeling.

VNE: It is, cause you know that your songs has legs and can go places that you can’t, which is a great feeling.

CC: It really is. It is such a political world, and it is so divided. There is a lot of pressure on people that you step out there into the great mirror of society, and the more out there in front of the public that you get, there is a mirror that starts projecting on you, and it is tough to deal with. It is hard to know what to do, but the thing about it is – being able to write honest songs and tell the truth in your writing; that is the most rewarding feeling. That is why I always look forward to what Vincent is doing. There aren’t a whole lot of people that I anticipate their new works as much as him, if anybody really. That’s the whole deal. You look over, and he’s writing better and better, and it makes me want to write better, too.

Speaking of, Vincent, can you talk a bit about your writing process for this record?

VNE: I kind of pieced together songs over time. Sometimes they jump out real fast; sometimes it takes a while. And thanks for saying that Charley, brother. Damn.

CC: I’ve been saying it for 10 years.

VNE: That’s kept me going a lot of times and I don’t think you realize that. These songs – damn, what was I saying?

CC: You were saying sometimes they come quick, sometimes they come slow.

VNE: I’m very influenced by the music that I’m listening to and that is why I try to be real careful about what I listen to. I think it is like if I’m making a smoothie. I gotta put certain ingredients in my brain, and it comes out me on the other end, hopefully. I was listening to a lot of Neil Young and Steven Stills and David Crosby. A lot of the ’60s rock and roll and a lot of Bob Dylan stuff. That’s just where I was in my headspace, so I was taking in all that. I try to put it all together to make it my own. That’s where I was at when I was making this album.

By the way, I’m excited about this rodeo we are playing together, Charley.

CC: Which one is that?

VNE: The National Finals in Las Vegas.

CC: Oh shit yeah! At the Virgin Theater there? Yeah man, I’m excited about it, too. Thanks for doing it.

VNE: Thanks for having me on.

CC: When it comes to money and shit like that, just any time, whatever you gotta do to make it work cause I wanna keep playing with you as much as we can and build up. I’ve played in some arenas recently, and I really don’t like it. I don’t know if country music belongs in arenas. And I just mean opening. I can’t sell tickets to no damn arena. And I take a cue from Colter cause he and Tyler and them boys, they could be in arenas all day long if they wanted to be. I would rather play rodeos and municipal auditoriums and really special theaters and stack ‘em up. I think we need to get a goddamned Dripping Springs reunion tour going. A real one.

VNE: Man, that’d be great.

CC: You know what I mean, just do some of our own shit. My aunt and uncle and a bunch of people who haven’t been out to see me play in a long time are coming out to Vegas. I used to live with my uncle when I was a kid in Louisiana and Mississippi and shit. He’s gonna flip his shit when he sees you.

VNE: I can’t wait, man, I’ve heard so many stories about him.

CC: He’s wild. We gonna show these folks what country music actually sounds like. They might not be able to tell who is left or right. Nahhh I’m just kidding it is a bunch of cool people.

Thank y’all for letting me be a part of this. I’m just happy to help out or talk about this. I’m real excited about the album for real. The imagery in your writing, man, it’s like everything you write is getting more and more vivid. You paint such a picture. I’ll stop blowing smoke up your ass.

I’m gonna get back on the trail and Vincent, I’ll talk to you soon.

VNE: Thank you for doing this brother, I appreciate you.

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Photo Credit: Vincent Neil Emerson by Thomas Crabtree; Charley Crockett by Bobby Cochran

6 Times Tanya Tucker Showed Us What Pride Is All About

Posted on by Justin Hiltner

Just in time for Pride Month, singer-songwriter Tanya Tucker released her new album, Sweet Western Sound, with Fantasy Records, marking the Country Music Hall of Fame inductee’s 26th solo studio record. Tucker is an American country icon, having landed her first hit single in 1972 at the age of 13 with “Delta Dawn.”

Tucker has long supported the LGBTQ+ community and queer equality, and Sweet Western Sound hits many of the same notes. The record was produced by Shooter Jennings and Brandi Carlile, the openly lesbian, roots music singer-songwriter and producer who is the only woman to receive two Grammy nominations for Song of the Year in a single year. Tucker has also collab’ed with drag queen and TV legend RuPaul and performed for GLAAD and Nashville Pride.

To celebrate her inclusivity and the new record, we’re counting down some of her most memorable – and most fabulous – stage performances and duets.

Tanya at Nashville Pride 2022 

Is there anything better than rainbows, bedazzled tassels, and feathers? Absolutely not! And Tucker brought all three in her spectacular outfit at Nashville, Tennessee’s Pride celebration in 2022. Tucker sang “If It Don’t Come Easy” on stage during the celebration and was joined by multiple drag queens wearing rainbow tees emblazoned with “Tanya Mother Tucker.” Guests during her set included her dog and her daughter; the two sang Merle Haggard’s apropos “The Way I Am.”

Tanya Shows Some “Kindness”

Tucker’s latest album features a track called “Kindness,” a country-western crooner that encourages us to be a little nicer to those around us. “I found glory in the ruin of the best laid plans,” Tucker sings. “There were times tomorrow felt so far away. It seemed as though the bitterness was here to stay. I’ve pushed down on my anger through my tears.”

The tune is a good reminder we never know what someone else is going through, and that we could all be a little softer because of it.

Tanya and RuPaul Declare “This Is Our Country”

In a totally unexpected, but absolutely harmonious collab, Tucker and RuPaul teamed up in 2021 to release a duet called “This Is Our Country,” a genre-bending blend of country and pop that celebrates inclusion and equality.

“I can be a queen or I can be a cowboy,” RuPual sings.

“Love is the answer, love always wins,” Tanya adds.

The lyrics state firmly that our country is big enough for all its diverse communities and features more than a few of RuPaul’s rap bars. The video performance features some of Drag Race’s most popular queen and contestants, as well as a couple cute, shirtless cowboys.

Tanya In the Moment With “Bring My Flowers Now”

Co-written by Tucker and Carlile — as well as twins Tim and Phil Hanseroth — “Bring My Flowers Now” is a call to show our love and appreciation for friends and family before they’ve passed away. The tune is from her 2019 album While I’m Livin’, also produced by Carlile and Jennings. In the song, Tucker reminds us there are “rainbows, sunshine, and babies” to celebrate in this life, and that we shouldn’t wait until it’s too late. The simple, slow track features a piano instrumental and Tucker’s iconic vocals — perfect for a gentle moment with the ones we cherish most.

Tanya and Brandi Have “Breakfast In Birmingham”

If it’s a classic country duet you’re craving, Tucker and Carlile’s duet on the new album is just the ticket. “Breakfast In Birmingham” features both singers’ warm, soulful vocals and paints a picture of the city’s past with descriptions of hippies, cheap gas, and crispy-fried bacon. There’s also mention of “shutting down the rebel history,” a reminder that there’s a lot to celebrate and remember this Pride.

Tanya’s First Hit, “Delta Dawn”


This would be no list of Tanya Tucker’s best moments without reaching back to her roots. “Delta Dawn” was Tucker’s first hit, and this 2019 performance at The Troubadour features her famous key change as well as beautiful dobro and electric guitar licks.

Around the 2:40 mark, Tucker pauses her singing to let the audience fill in the words and they don’t miss a beat. This tune is always worth a listen and is one of Tucker’s best-known singles.

Whether you’re a fan old or new, Tucker’s got something for everyone — including a message of equality for all. There’s almost no better country singer ally to revisit during Pride Month.

Photo Credit: Derrek Kupish

Minute-by-Minute at Willie Nelson’s 90th Birthday

Posted on by Amy Reitnouer

6:35pm – Billy Strings kicks off Night Two at the Hollywood Bowl with “Whiskey River.” It’s the same song as the first night but it’s a welcome repeat number (and face).

Billy Strings by Randall Michelson

6:39pm – Ethan Hawke opens the show, saying “Willie has always stood for equality,” so it’s no surprise to see the next guest…

6:40pm – It’s Orville Peck in a sleeveless vest (Aren’t his arms cold?! It’s freezing tonight) and his classic fringed mask. Performs “Cowboys Are Frequently, Secretly Fond of Each Other.” Makes use of the full Hollywood Bowl stage – he is owning this moment.

6:45pm – Charley Crockett. “Yesterday’s Wine.” Lady in box next to me states loudly, “Now this is real country.”

6:49pm – Allison Russell and Norah Jones do “Seven Spanish Angels.” These two voices are so perfectly in sync… please call me as soon as they do a duet record together.

6:56pm – Chelsea Handler introduces Dwight Yoakam for “Me and Paul.”

7:05pm – Waylon Payne and Margo Price take the stage together for “Georgia On A Fast Train.” These two are having the absolute best time together. Their chemistry is off the charts. From the box next to me, I hear a fan whisper under their breath, “MARGO IS MOTHER.” Couldn’t agree more.

Margo Price by Randall Michelson

7:14pm – Particle Kid (aka Willie’s younger son, Micah) along with Daniel Lanois. “I went to the garage and got high as shit and wrote a Willie Nelson song.” The lyrics come from a phrase his dad said one day: “If I die when I’m high I’ll be halfway to heaven, or I might have a long way to fall.”

7:19pm – Dame Helen Mirren (!) introduces Rodney Crowell. Emmylou joins mid-song for “‘Till I Gain Control Again.” Crowd goes bananas.

Emmylou Harris by Randall Michelson

7:33pm – Rosanne Cash does “Pancho and Lefty.” Totally different interpretation compared to Night One (where it was performed by Willie and George Strait), but a universally beautiful song nonetheless.

7:46pm – Lyle Lovett melting hearts and brains on “My Heroes Have Always Been Cowboys”

7:53pm – The “Aloha State Statesman” Jack Johnson performs one of the only non-Willie catalogue songs of the night, “Willie Got Me Stoned and Took All My Money.”  He wrote it after Willie got him stoned and took all his money (in a poker game).

Jack Johnson by Jay Blakesberg, Blackbird Productions

7:57pm – Beck (in sunglasses). First artist to acknowledge the unreal house band. “Can you imagine waking up in the morning and opening your eyes and realizing ‘I’m Willie Nelson’? It’s already a great day.” Performs “Blue Eyes Crying In The Rain.”

8:03pm – TOM JONES! One of the most unexpected joys of the night. His love for Willie shines through in his performance of “Across the Borderline.”

Tom Jones by Josh Timmermans

8:12pm – Surprise guest host Woody Harrelson takes the stage. “Not to self-promote, but just so you guys know, I did open a dispensary… seems like the right audience.” He introduces the legendary Bob Weir. Billy Strings and Margo Price join Bob on stage for a fun and enthusiastic “Stay All Night (Stay a Little Longer).”  Margo is having the most fun tonight.

Billy Strings, Margo Price, Bob Weir by Jay Blakesberg, Blackbird Productions

8:18pm – Shooter Jennings and Lukas Nelson together! The next generation doing their fathers proud with own rendition of “Good Hearted Woman.”

Shooter Jennings, Lukas Nelson by Randall Michelson

8:22pm – Lukas performs a heart-wrenching version of “Angel Flying Too Close to the Ground.” Sounds so much like his dad yet simultaneously unique to himself. He has all 18,000 attendees in the palm of his hand.

8:29pm – The Avett Brothers. Wow. They sound so good, and fresh off the MerleFest stage just 48 hours prior. It’s been a few years since I saw them and gosh I missed them.

8:40pm – Chelsea Handler introduces Norah Jones, who performs an instrumental ode to Bobbie Nelson.

8:43pm – Norah brings on Kris Kristofferson (!) and helps him through “Help Me Make It Through the Night.” There’s not a dry eye in the house.

Kris Kristofferson, Norah Jones by Randall Michelson

8:49pm – Ethan Hawke introduces Nathaniel Rateliff. Not unlike the first evening (where he performed “City of New Orleans”) he steals the show with “A Song For You.” Rateliff is a national treasure who should be protected at all costs.

8:54pm – Sheryl Crow does “Crazy.” Crowd (rightfully) goes Crazy.

9:02pm – Dave Matthews, overflowing with sheepish charisma, tells an amazing story about getting high with Willie on his bus and how proud his mom was of that moment. The photo of that night is still prominently displayed on her mantle. He performs “Funny How Time Slips Away,” a song that seems to be the theme of the night.

Dave Matthews by Randall Michelson

9:18pm – Jamey Johnson and Warren Haynes perform “Georgia On My Mind.” From the first word Jamey sings, the audience goes wild. These two bring down the house.

9:28pm – The Children of the Highwaymen, including Lukas and Micah Nelson (Particle Kid), Shooter Jennings, and Rosanne Cash. One of the few moments during the show with technical difficulties.

Woody Harrelson, Willie Nelson by Randall Michelson

9:35pm – Woody Harrelson returns to the stage to introduce Willie. The man of the hour finally takes the stage. Willie performs “Stardust.” It is perfect. I am crying.

9:53pm – Willie duets with his longtime studio producer, Buddy Cannon, on “Something You Get Through” (which the two wrote together).

10:02pm – KEITH RICHARDS JUST WALKED OUT. I AM DECEASED. It’s hard to even remember what they performed because everyone is in such shock. (They performed “We Had It All” and “Live Forever”).

Willie Nelson, Keith Richards by Randall Michelson

10:10pm – All skate. “On the Road Again” of course. Willie wraps up the night by taking us all to church, ending with a medley of “Will the Circle Be Unbroken” and “I’ll Fly Away.” It’s going to take an awfully long time to process everything from this weekend.

Lead photo of Willie Nelson by Randall Michelson.

A Survivor of Her Dreams, Kelsey Waldon Returns With ‘No Regular Dog’

Posted on by Editor

Kelsey Waldon has a new outlook on life — or at least life as a full-time musician. A native of Monkey’s Eyebrow, Kentucky, she’s charmed audiences all across the country at concert halls and festival stages. But she cut her teeth at plenty of dive bars and honky-tonks along the way, a fact that reveals itself not only in her charismatic, unmistakably country live shows, but also in the independent spirit that courses through her lyrics.

A strong songwriter with the voice and twang to match, Waldon’s musical prowess caught the attention of legendary songwriter John Prine, who signed her to his record label in 2019 — his first signing in a decade and a half — and released the widely acclaimed White Noise, White Lines later that year. This month, she will return with No Regular Dog, her fourth full-length album and her second via Prine’s Oh Boy Records. Brimming with twangy strings, thoughtful imagery, and a tenacious, determined lyrical undertone, the album holds all of Waldon’s usual musical hallmarks. But it also paints the picture of an artist who has grown since her last release; a snapshot of someone who’s stepped back, reconsidered her place in the musical ecosystem, and re-emerged more enthusiastic and clear-eyed than ever.

No Regular Dog was mixed by renowned engineer Trina Shoemaker (“I’m a huge fan,” says Waldon) and produced by Shooter Jennings, who took a highly collaborative approach to the role. “I think Shooter really sees himself much more as a facilitator,” says Waldon. “He felt his job was to stick with my vision but elevate it in any way possible. He really knows how to let the artist be themselves.”

A few days before the release of No Regular Dog, BGS caught up with Waldon about the studio dynamic that molded the album, the life experiences that inspired her, and the daily joys that keep her grounded.

BGS: In the title track, “No Regular Dog,” there’s this great phrase: “survivor of my dreams.” It’s a lyric that could be interpreted a lot of different ways. What did you intend when you wrote it?

Waldon: We wish for so many things. We want them. We work so hard for them. And then, sometimes, we get really lucky from all that hard work and it gets handed to us. At that point, I do think you have to survive it. I don’t mean that in a bad way! Obviously, I’m doing what I love and that’s something I realize is a privilege and a gift. But it comes with its own sacrifices. People always say “livin’ the dream,” and I always joke around and say I’m surviving the dream. [Laughs]

The song was written at a time when we’d been on the road for three months. I was on a plane somewhere, and my poor old manager, who’s one of my best friends now, said something like, “Well, we ain’t no regular dogs.” In my head, I was like, “Yeah. More like a wolf on the kill. We’re going to do this no matter what it takes.”

You work so hard to get to where you are, and then it’s kind of like, “Oh, shit. This is hard.” The road’s not for everybody. But I really wanted it. I wanted it for all the right reasons, and I still do. Especially after taking some distance from my career during the pandemic, I’m finally feeling ready to step into my role. The song is about the idea and the statement that I’m still here. I won’t be put down that easy. I won’t be put down like no regular dog.

You mentioned that some distance from your music career adjusted your perspective. What are some of the things that continue to fill your cup, bring you joy, in between touring or recording?

Well, I’ve always got a pretty lush garden growing. My tomatoes are popping off right now, and we just got a big old mess of greasy beans. I cooked them last night for dinner. Obviously, that’s always brought me joy. I also love this summer heat. I’m one of those people! I really do. I know people hate it, but I love it. I love the bugs at night and everything. That’s bringing me great joy, too. I got to go fishing a little bit, go on some good trips before I left for Europe. And my little cattle dog, Luna, she’s out here on the porch just laying here while I’m talking and that brings me a lot of joy. I love taking care of my chickens out here and being able to spend some time with my partner, Justin. I’ve got a new little niece named PJ, and she is the best. So, aunt life has brought me joy as well.

You recorded this in Los Angeles with Shooter Jennings. How did that come about?

I loved working with Shooter, and that was the first time I’d recorded in Los Angeles — I had done everything in Asheville or in Kentucky thus far. But as soon as I knew I was going to make a new record, I wanted to challenge myself to get out of my immediate bubble and work with someone I didn’t really have any history with. I felt in my gut that I really needed to do that.

Shooter and I met at a Tanya Tucker show in Kansas City at the end of 2019. I was really taken aback that he knew my music. I mean, he was telling me things ​about my songs and I was just kind of like, “OK, he’s actually listened. He’s actually a fan.” I had, of course, heard records he had done. Obviously, I was a big fan of Tanya’s record, and I’d heard that Jaime Wyatt record he had done and I thought it was great. It all felt so natural. We kept in touch. I sent him some voice memos and demos I had done here at the house. It was clear that we were both incredibly excited to make this record. I think he had always kind of wanted to make a deep country record. We both clearly had a common goal and we made it happen.

One of the songs on the record that really stands out to me is the closer, “Progress Again.” What inspired it?

That was one of the only songs on the record that I wrote a while back. I brought it to the studio for White Noise, but it just wasn’t ready yet. But I kept thinking about that song. During the pandemic, I opened up my journal and revisited the tune. I wrote new verses to it. It felt like I was in a different part of my life to finally have the experience I needed to finish it. I mean, everything is progress. I’ve done a lot in my life. I’ve messed up. I’ve had a huge healing time these past couple years — I’ve been off booze for almost two years. There’s a lot that you’re not really able to see when you’re in the thick of things. But being able to look back from a healthy distance, you might realize how many people you were hurting. That you were hurting yourself. “Progress Again” is a little bit about that, but it’s also about accepting that progress is a part of life and just moving on and not dwelling on things. So, you got to learn to let it go and love yourself a little bit.

You say in the song that “there’s hope in persistence.” Has that rung true for you, in your career or otherwise?

Yes, absolutely, in everything I’ve done in life. 100%. Not only in my career, but in my personal life and mental health. It takes a lot of work to turn bad habits into good habits. You have to be consistent, be persistent about it. It’s an everyday thing. But it gets easier, even though it’s still hard. At the end of the day, you’ve got to bet on yourself. You can’t let just one thing fuck it up for you. There’s hope in persistence because something could break through — you just can’t stop.

One of those breakthrough moments for you came a few years ago when you signed with John Prine’s Oh Boy label. You honor him on No Regular Dog with a song written in tribute, “Season’s Ending.” Why was that important to include here?

“Season’s Ending” was the first song that I wrote after John’s death. I couldn’t really do anything for months after that happened. There was so much other death as well. There was a lot of loss; I think it was hard times for a lot of people. I was pretty stricken with grief for a good few months, and I know I’m not the only one. But I finally sat down and that song poured out of me. It was a nod to his song “Summer’s End.” But the seasons were changing and the flowers were blooming and I just started thinking about how everything is cyclical. The song is about coping. Accepting death as a part of life. Maybe everything that dies doesn’t really die. Maybe it comes back. Flowers don’t bloom all year. Some things go dormant, and then they come back. The song was just a way for me to process that. Death is a part of life. John is forever a part of my story, and I’m a part of his legacy as well.

What do you hope this album’s legacy will be—for old fans and new ones?

We’re in really hard times right now, and I hope this album can be a gift to people. I feel like I’m coming to my career with whole new eyes: I’ve been thinking a lot about what I’ve been able to do, what I can do further, and what kind of energy I want to bring. Mostly, I just hope this album makes people’s lives better. I hope they can see the no regular dog in themselves, and I hope it can bring something good to the world.

Photo Credit: Alysse Gafkjen

In a Legendary Moment, Joni Mitchell Returns to Newport Folk Festival

Posted on by Shelby Williamson

Newport Folk has long been a place where legendary moments are formed. The festival achieved yet another moment in its storied history last weekend when Joni Mitchell joined Brandi Carlile during the festival’s closing jam, marking the iconic songwriter’s first return to the festival in over half a century and first public live performance in decades. Brandi & Co. gave us a moment we all needed. Hearing Joni’s words and calming, dulcet tones was a balm for an uncertain society; a collective pause for us to reflect on time and its passing, and how different the world looks since the last time Joni played this stage.

We’ve rounded up a collection of the best videos around the internet from Joni’s historic set so that even if you weren’t there, you can take that joy in from every angle.

Brandi Introduces Joni

Questlove caught much of Brandi’s introductory speech building the excitement for the Joni Jam – and a bit of electric uncertainty among the crowd whether or not the guest of honor would actually be in attendance – as well as the first two numbers (“Carey” and “Come in From the Cold”) up close and personal.

 

 

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But it’s wholly worth watching Brandi’s speech in its entirety, as she acknowledges the power of congregation and radical love. “To power structures, folk music is — and always has been — utterly fucking destructive… It’s a truth teller and a power killer.”

“Both Sides Now”

“Big Yellow Taxi”

Joni’s Grand Entrance

 

 

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“Just Like This Train”

Joni and her electric guitar graced us with this Court and Spark beauty after a word of encouragement from Brandi Carlile: “Kick ass, Joni Mitchell!”

“The Circle Game”

“Summertime”

“A Case of You”

 

 

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An Interview with Joni & More Onstage Moments

 

 

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Cover photo by Newport Folk Festival

WATCH: Jason Boland & The Stragglers, “Restless Spirits”

Posted on by Editor

Artist: Jason Boland & The Stragglers
Hometown: Harrah, Oklahoma; now based in Austin, Texas
Song: “Restless Spirits”
Album: The Light Saw Me (produced by Shooter Jennings)
Release Date: December 3, 2021
Label: Thirty Tigers

In Their Words: “This tune was written by the great Bob Childers, and he once told us, ‘All my songs are love songs.’ We feel so honored to have known him and to have this song make its way into the story of The Light Saw Me. The line ‘her eyes were closed but still they held the light’ made me rethink what this song could mean as an emotional point in this tale. Plus, in the way that Willie Nelson’s Red Headed Stranger had ‘Blue Eyes Crying in the Rain,’ I wanted to include a classic on this concept album. The deeper meaning of the material is ‘meaning’ itself. When faced with the stoic realities of our collective fate, love is the source of the power that can keep us going.” — Jason Boland

“Jason is one of my dearest friends and, in my opinion, one of the smartest and coolest dudes I know. This album isn’t just another album from Jason & The Stragglers. It’s a magnum opus of the highest creative order, which in turn I take as a very serious honor to be able to be a part of its inception.” – Shooter Jennings

Photo Credit: Rico Deleon

The White Buffalo Gives Fans an Escape with Live-Streamed Set, New Songs

Posted on by Editor

With a tour scrapped and a new album to unveil, The White Buffalo (musician Jake Smith) will be bringing the concert experience — and a bunch of previously unheard songs — directly to fans for a live-streaming experience on Sunday, April 5. By email, Smith fielded a few questions from BGS about what his loyal listeners can expect, both from the streaming concert and the upcoming project, On the Widow’s Walk, out on April 17.

BGS: You have found an interesting way to connect with fans during this time. Can you tell us what the visual component of this show will look like?

The White Buffalo: It won’t be a bunch of smoke and mirrors. That being said we are shooting for something of a much higher quality both sonically and visually. It will be lit and shot on multiple cameras. We are really trying to elevate the live online streaming experience and people’s homes.

How about the sound — acoustic, full band, or a mixture of both?

We are recording in a studio so the sound will be of the highest quality. It’s going to be full band, a trio like we’ve toured with for years. This time we’re going to have Christopher Hoffee who plays bass on piano on some songs and I’m trying to elevate my guitar tone to bring some dirtier sounds to match the new album.

This event differs from a tour date to some degree, but what goes through your mind in the moments before taking the stage?

I just try to step back and appreciate that this is my job. I feel very lucky to have people care and connect with what I have to say. The live setting cannot be replaced. I think it’s the most visceral way to absorb music.

With a new record on the way, I am sure you will drop in some new material. What is that experience like for you as a writer, sharing something new for the first time?

It’s a bit nerve-racking playing songs that no one’s ever heard but it’s exciting for the most part. On the upcoming album I again tried to run the scope and breadth of emotions. Dark, gothic, lighter, hope-filled, optimistic, heartfelt, heavy… It’s hard to judge what songs will really resonate with crowds until you get out and play them.

You have already introduced the world to “The Rapture” prior to the album. What was on your mind when you wrote that?

That one’s a twisted, primal tale of murder. The first few lines just spilled out of silence as they do. From there I put myself in the shoes of this fantasy character and it was obvious to me where he’d end up. He’s trying to restrain his evil ways but the animal in him is too wicked and strong.

What surprised you the most about the time you spent making the new record?

Truly how fast everything came to be. I wrote and finished the bulk of the songs within a couple weeks after an inspired and validating meeting with Shooter. During two sessions we recorded the whole thing in 6-7 days. The recording process was the most honest, organic thing we’ve done to date. With Shooter Jennings producing and sitting in on piano, we’d all sit in a room and record what happened. Recording and documenting live takes until we felt like we had the right feel and emotion for the song. It sounds simple but it was about catching those real, live, special moments.

So much of the live experience is about connection. Will there be a way for fans to have that interaction with you during this event?

I’m hoping so. I’m hoping they’ll feel it. We plan on bringing the same unbridled passion for performance as we do to live shows. There will be an interactive part of it as well, a little Q&A. That’s something we don’t do at shows, so trying to fill the distance a bit with that.

What would you like your audience to take away from this experience, in the midst of these uncertain times?

Hoping to give people an escape. To connect with them through the music… make them feel pain, joy, hope, fear… Take them on an emotional journey… for them to have a respite in the these crazy times and be entertained and lose themselves in the moment.

Photo credit: Cheyenne Ellis

LISTEN: The Mastersons, “Eyes Open Wide”

Posted on by Editor

Artist: The Mastersons
Hometown: Los Angeles, California
Song: “Eyes Open Wide”
Album: No Time for Love Songs
Release Date: March 6, 2020
Label: Red House Records

In Their Words: “‘Eyes Open Wide’ was one of the first tunes we wrote for the record. It took on a Byrds/Gene Clark feel the moment the Rickenbacker 12 string came out, which seemed apropos for a record cut in LA at Sunset Sound. Once Shooter Jennings had Bonnie Whitmore and Mark Stepro add their harmonies it added a Fleetwood Mac vibe and turned into a pretty fun track. It also feels like a song for the times as we can’t bury our heads in the sand with so much going on in the world. It’s tempting to check out with so much bad news every day, but it’s time for all hands on deck.” — The Mastersons

Photo credit: Curtis Wayne Millard

Tanya Tucker Remains a Songwriter’s Muse (Part 2 of 2)

Posted on by Editor

Tanya Tucker isn’t known as a songwriter, although “Bring My Flowers Now” from her newest album, While I’m Livin’, shows she can hold her own. Across four consecutive decades of charting singles, she relied largely on the Nashville songwriting community — and in turn, she’s served as a muse for them. Among her forty Top 10 country hits are classics like “Delta Dawn,” “Strong Enough to Bend,” and “Two Sparrows in a Hurricane.”

Now, her life is the inspiration behind the songs of While I’m Livin’, produced by Brandi Carlile and Shooter Jennings. A bulk of the material was written specifically about Tucker by Carlile and her musical comrades Tim and Phil Hanseroth (a.k.a. The Twins). At her producers’ insistence, she also cut material formerly recorded by Miranda Lambert (“The House That Built Me”) and Waylon Jennings (“High Riding Heroes”).

In the second half of our Artist of the Month interview, Tucker talks about the songwriters she’s known, the mysteries of songwriting, and the left-of-center producer that she credits with her career. (Read the first half of the interview.)

BGS: I read that you had Loretta Lynn in mind while writing “Bring My Flowers Now.”

Tucker: Yeah, I was on the way to Christmas in Texas on the bus. And she called me, or I called her, and we’re always talking songs. She says, “We gotta write something together. You gotta come on over here and write. Me and you gotta write a hit.” And I said, “Well, I got this idea, let me sing a little bit to you. I’ve had it for years, but I just can’t find anything to go with it.” And I sang her the chorus and she goes, “When you come back through here, you gotta stop in here. We’ll finish that song. I love that idea.”

So I went out to California in the meantime, and I guess I’d sung it for some reason to Brandi — and I’m sure I sung a few ideas to her. But then she brought it up the last day of the sessions and we cut it right after we finished writing it. And then it became the title, so yeah, that’s pretty cool.

Yeah, it’s such a minimal production on that song.

That was always her thing. She told me, “It’s time that we hear your voice and it’s been so covered up, and so in the mix. And it’s time for people to hear the real Tanya Tucker, and you don’t need a lot of crap over it and a lot of production.” She’s very into that — very raw, real, flaws and all.

I wanted to ask you about Tom T. Hall because he’s popular among our readers, and he’s in the Bluegrass Hall of Fame now. He’s written a lot of bluegrass hits.

Oh! I had no idea. I’ve been thinking about him a lot lately. We text, I text him. Johnny Rodriguez and I were together the other day, talking about how Tom T. brought him to Nashville to play guitar. And how I toured with him. I used his van when I was a kid. That was always hard because some people didn’t like you using their van. But he was very cool with it.

I was 14. We had dinner one night and even back then he said, “You know, you gave me a great idea for a song.” So I guess I’ve always come by it naturally. Now songwriters hang out around me, just knowing any minute something’s gonna come out of my mouth. I can’t tell you how many big songs that were my idea. But I didn’t write it, so that’s the way it goes.

I’m a great idea person. I’m a great hook person. But it’s just like “Bring My Flowers Now,” I had the chorus but I could not find the meat. I had the bread, but no meat. And if you don’t have that, then you might as well hang it up. Sometimes it takes a catalyst to get that out of you. Gary Stewart was that way with me. … He could somehow get things out of me. I’ve known some people that can just be in a room, while you’re in the room writing, and just bring it out without even realizing it.

I don’t know what it is. Writing a song is very hard to explain in words how it happens. It’s almost like you have to explain it after, “Well that happened. Curiously, it happened this way.” I don’t really think about it much. Harlan Howard always told me, “Oh, you’re a writer trying to get out of a singer’s body.” Max D. Barnes was a good friend of mine and he said, “If you just sit down and focus for a few minutes, I bet we would write at least three standards.” At least three. So I’ve had the greats say things like that to me — and mean them.

You’ve been listening for great material from the very start of your career.

When I was a kid, one day I said to Billy Sherrill, “I’m getting a little irritated. You know, you write all these songs for Tammy Wynette and you ain’t never written one for me.” And he goes, “Well, let me tell you why.” Either he knows how to build a fence real quick or he was really being honest, and he said, “It’s because I have never written a song that’s as good as you are a singer.” And I went, “Oh, well that was really cool. I’m not sure I believe that shit.” But he did finally write me one and I did record it. It wasn’t a single. It was called “I Guess I’ll Have to Love Him More.”

I used to fight with him about recording some songs. “Almost Persuaded” — he goes, “Nah nah nah, we don’t need to do that.” And I’d go, “WE’RE GOING TO DO THAT!” I had someone tell me the other day, “God, I loved the way you sang ‘Almost Persuaded.’” It was a totally different change from the boy to the girl. But he never did want me to cut any of his songs and I had to fight him to do it. Sure miss old Billy. I give him all the credit. Without him, I don’t think any of this would have happened.

He set the stage for you.

Well, he listened to me. They’re walking out of there going, “What the hell?! This guy’s lost his mind listening to this kid.” Because I turned down “Happiest Girl in the Whole USA.” I said, “Love the song, it’s great, but it’s not my song.” And then when he played “Delta Dawn,” with Alex Harvey on guitar/vocal, and I went, “There you go. That’s my song.” And he listened. I didn’t record anything that I didn’t want to with Billy.

He was a little left-of-center and I’ve always said that anybody that gave me a chance in life was… maybe dealing with more decks of cards, a little off-center. Because anybody logical, who had a watch, was on time, never gave me a shot. It was always those people that were just a little crazy…

I’m so proud to have known some of those boys. Oh my god, all my boys at CBS [Records] were really great. When Billy signed me, the record label thought he was crazy, too. But they couldn’t mess with him too much because he had all the hits on the charts. They thought he was kind of strange, actually very strange. And he was. He wasn’t a normal kind of guy. At all. So, those kind of people, I have a soft spot for because they’re the ones that gave me my chance, my shot.

Your fans are going to hear this and might say, “Well, this is different.” What do you hope they hear in this record?

Well, I hope they like it. “The Wheels of Laredo” is a good song, but it’s not “Only two things in life make it worth living.” It didn’t grab me like that, but it’s grabbed everybody. I’m amazed that they like it as much as they do. People have come out of the woodwork, they’re sending me videos of them listening to it in Canada and in the pool, Buck Brannaman riding in the arena to it — and it’s just like, “Whoa, what is it about this song?”

I really don’t know. I can’t put my finger on it, but I’m glad it’s happened. I bet it’s like what Elvis felt when they gave him “Hound Dog” – “What the hell?! I ain’t singing this: ‘You aint’ nothing but a hound dog, cryin’ all the time.’” Like, “OK, no…” And then he cuts it and it’s a big ol’ smash. Makes you second guess yourself a little bit.

So I really don’t have any explanations of how all this happened and why. I look at all that stuff up there [plaques on the wall]. It’s not all the stuff I’ve done, but it’s a lot of my work and my catalog and my albums. But I never would’ve imagined this album would do what it’s done. Really. I have no answer for it, I have no explanation.

Photo credit: Danny Clinch
Illustration: Zachary Johnson

Tanya Tucker Just Might Prove Her Dad Right (Part 1 of 2)

Posted on by Editor

Although her voice is instantly identifiable to even a casual country listener, Tanya Tucker has perpetually reinvented herself in the public eye since she debuted with “Delta Dawn” in 1972. From a mature teen singer in the ’70s, a scandalous star of the ’80s, and an award-winning vocalist in the ’90s, it’s never been easy to define her.

Now she’s back with While I’m Livin’, a stunning song cycle that shows her tender side as well as her rowdy, ready-to-party personality. It’s her first album of new material in 17 years, and by working with producers Brandi Carlile and Shooter Jennings, she’s made the most striking album of her career. Here’s the first of our two-part interview with Artist of the Month, Tanya Tucker.

BGS: I’m sure you’ve been approached to make a record over the last 17 years. What was it about this situation that made you say, “Yeah, let’s do it”?

Tucker: I’ve been working on other projects that I’m doing on my own. I’m really proud of those things and I hope that they see [a release]. I feel like this album, for some reason, is going to open that door. It seemed like before it was low interest. I don’t feel like there was a lot of interest. Maybe there was, I didn’t know about it, but when Shooter said something to me about it, I was like, “Yeah, great, great…” I went off and did Tucson and forgot all about it.

But I came back and it snowballed, and before I knew it, I was in LA doing some recordings on songs that I really didn’t know. I do my deal. I’ve done it all my life. When a song is pitched to me, I put my own something on it — I’ve changed a lot of ‘his’ to ‘her’ and made it my own. That’s one of the biggest compliments I’ve gotten from songwriters. I’ve heard from many of them that I can take their song and make it my own. They’ve always told me that, so it’s a very big compliment to me and I think that’s important. But this kind of came out of nowhere. I really can’t explain it. It kind of just happened and I don’t know how it happened. It did though. I’m pretty sure.

I’ve heard it, it’s real.

I think it is real. I’ve listened to it a few times and the good news is that the more I listen, the more I like it. Because it started out not that way.

What was your first impression of the final product?

I said, “No! Absolutely not.” I just didn’t hear it. I didn’t hear the songs as being anything I could really get into, or put my heart into. I really didn’t think it was going to be that good. I was wrong, and I love being wrong. I mean, I’m wrong a lot, but I was really wrong about that.

What was the relationship like in the studio with Shooter, and what’s he like as a person?

Well, Shooter’s great. I’ve known him before he was Shooter. But if you really would concentrate the time we spent together — very little time. But we spent more time probably on this project than we ever had, and we’ve become best friends. I wouldn’t say I had any better friends. He’s as good as any friend I’ve got.

Good. How about Brandi?

Oh, Brandi. She’s not even right. She is not local. She’s not of this world, she’s just in it. Yeah, she’s very exceptional. Something about her communication skills — maybe it’s just me, I don’t know, but I’ve watched her with everybody and you see the respect people have for her. … That’s the way that you want it to be. The way we made that record — I wish they were all that way. Brandi’s the same way [as Shooter]. I feel like she’s my best friend, totally. And I’d never heard her sing. Not until the Grammys and we were already done with the album.

What did you think when you heard “The Joke”?

I was blown away. Yeah. Blown away. And I loved “That Wasn’t Me.” I think I’m going to learn that one. I may not record it but behind closed doors I may learn that song. If anything, to just say thanks. Hell, she knows all of mine, I should probably start learning a couple of hers, you know? I’m way behind.

Well, it’s important who you surround yourself with. I mean, I don’t have to tell you that.

It used to be really hard for me to see anything bad about anybody. My dad was real good at seeing it before they even knew they were. He was very good about that. I hope that I am acquiring his skills. I’m still not as good as he was.

About a week ago, I read Nickel Dreams [Tucker’s 1997 memoir] and he was like your co-star in that book.

Yeah, well, he is the star, as far as I’m concerned. I’ve never read the book, but they’re on to me about writing another book. I really think that’s the real story. If there was a movie, I believe it should be his life. And then when I get started, that would be the end of the movie. Sequel! I plan ahead. But I think his story is phenomenal and it really needs to be told. His life was pretty unbelievable.

Your childhood is pretty interesting, though, too. Living in Utah…

Arizona, Nevada, and Arkansas.

It is a very dramatic life.

Yes.

It would work well for a script.

Yeah, well, I lived it, so it’s not so interesting to me, but maybe it is. And if it is, then that’s great.

What do you think your dad would say about this record if he had a chance to listen to it?

Oh wow, that’s a good question. Wow, oh wow…. Well, I’d have to say I believe he would love it because there’s two or three songs in there about him. The Twins [Carlile’s longtime bandmates, Tim and Phil Hanseroth] and Brandi actually wrote and custom-fit those songs to me, which is a real talent right there. One that I do not have, among others. But they have the talent. I don’t know if they have it all the time or if it was just this one time. They brought it all together. I don’t know. But I know that it’s unusual.

In fact, Brandi said, “God, I’d give anything if I could’ve met your dad.” And I told her, “Well, he didn’t like many people, but I do believe he would’ve liked you. I really do.” … I think he would like those songs but I think he would definitely be proud of “Bring My Flowers Now”. Because he always told me — Oh my God! You know what? I just figured something out.

What’s that?

My dad told me once, he said, “Let me tell you something.” He said, “The biggest record you’ll ever have, it’ll be the one that you wrote.”

How old were you when he told you that?

Oh, he told me several times. I was already started. I mean, it wasn’t when I was a kid, but many times he’d tell me that. “That’s what you need to do, is write.” But he didn’t like the association that I had to associate with to write. Because back in the day, party party party. Stay up all night, write a few songs. Stay up for a few days and something’s going to come out of it. He didn’t like that part of it. Now it’s become like a business. Meet me at 8:30 and we’ll write until 10:00, we’ll be done before noon.

But you had the Song House, which I read about in your book. You lived there, and then all the songwriters would come over.

Yep, right. Yep, that’s true.

So you love that association.

Oh yeah. I love to party, too, so it all kind of went hand in hand, like alcohol and cigarettes, or cocaine and cigarettes, and alcohol. And blackjack, throw that in there.

Read the second part of the interview.

Lede photo: Derrek Kupish