PART ONE - INTRO:
From Andrew, Ryan
1) What have you been listening to lately? Whatcha been reading? Hell, what movies have you enjoyed recently?
I’ve been listening to the new Oneida record “Happy New Year”. By a thousand and one miles it is my favorite thing in ages. Have rarely kept up on movies, however this year I am going to shoot some film myself and try to put some music to it.
From Oliver, Aleksander
2) Was Leonard Cohen ever an influence on you or was that just music journalists projecting? I also understand you’re a fan of Michael Hurley and I was hoping you might tell us a little about your impressions of him and any influence he might have had on you.
I think Cohen has written some of the great songs. He and Townes I would say would not get along too easy but they both were workers. I didn’t hear a single song I know of by Leonard Cohen until I was about out of college, so it would be hard to call him a regular influence. Music journalists? They make all this shit up. If I wore a t-shirt that said Bitch Magnet or Bastro on it they would call it me “wearing my influences” but they are just great bands that were important to see and listen to while I was figuring all this out - putting together bands and songs has little to do with what music I enjoy.
Hurley is in a similar boat, not the same one but similar. I first heard him in Germany on a 45. I’ve been on a bill with him but he didn’t make it. He and Fahey are people I was and am glad to have been in the circles of for a time.
From Chris
3) The European press has occasionally suggested that you’re related to Ralph Molina, who mans the skins for Neil Young’s band Crazy Horse. Is he in fact kin and if so, did you ever have any interaction with Neil Young and has he heard your music?
Me and Ralph Molina. That one is a family “maybe”. From some people I’ve heard it is highly likely. We are from West Virginia and some Molina’s went on to the West Coast during the war. I know that for me the world and weather can not be grey enough, stormy enough, rainy enough. I would die in California if I didn’t live in the woods or the mountains. I’ve met some people close to Tom Petty and Neil but have yet to sit down with them. Meeting people like this who write good music would not be worth it if I didn’t bring the guitar with me. I ain’t afraid, might happen… I’d guess that they have heard this music, but it might be just as soon thrown out the bus window. I don’t know.
From Tjeerd
4) If you were given the opportunity to record a cover album what songs would you choose?
Cover record? I’d do the cover of “Houses of the Holy” (Led Zeppelin) first (the gatefold part) then I’d do “Wish You Were Here” (Pink Floyd), “Fresh Fruit For Rotting Vegetables” (Dead Kennedys) and finally “We Sold Our Souls for Rock and Roll” (Black Sabbath). Side B? Of course it would be “Bark” (Jefferson Airplane?), “Two Nuns and a Pack Mule” (Rapeman), “The White Birch” (Codeine), topped off with any generic cover that features “Moon River”. There is my cover album.
From Tjeerd
5) Do you have any favorites among your own records or any of which you are particularly proud for one reason or another?
Howler, Ghost Tropic, Didn’t It Rain, the first Magnolia record, After The Blues, The Black Ram, Nashville Moon, Sun Sessions, The Ghost, Shohola, Western Vinyl 7”, Nikki Sudden covers for SC100.
Here I’m reminded about Nikki. Since Secretly Canadian was started there was great respect and fascination with Nikki. Chris Swanson and I had heard him around the same time. My reaction was totally different. Chris can see long in to the future. I just saw half-assed Stones rip-off music. So, being endlessly compared to Leonard Cohen, Neil Young, Bill Callahan, Will Oldham, etc, etc… I decided to listen hard and close. I found some nerve in his songs, some real self inflicted tragedy of course, but I came out thinking he wasn’t ripping off anything. He was part of an era and on a street level. He was not famous but lived with an image that made him (in his mind perhaps) seem like a star. I give a shit / shit on being a star. Nikki was just a guy. I tried several times to get him alone and talk about songs and writing – there was always something keeping us away from that. Howe Gelb, Will Oldham, Steve Albini, Vic Chesnutt, Bill Callahan, and Chan Marshall have been more or less what I’d call on my page. Nikki will be part of the era that didn’t know him. It is fantastic that Secretly Candian got to know him well and put out his collected work. Before long people will go through all those records that they worked so hard to release and reissue and get one step closer to what he was all about. I never heard it from him directly if he took it well how I interpreted his song for the SC100 compilation.
PART 2 - THE SONGS:
From Karel
6) ‘Just be Simple’ begins “You never hear me talk about one day getting out, Why put a new address on the same old loneliness”. Secretly Canadian’s website declares that you’ve lived in nine different locations over your twelve year career. How does that effect your music/how you feel/how you see things… how does that effect your life?
I’m just a moving part in this whole big machine. I do my job. I do it well and nobody taught me how. That means I’ll probably fuck it up for you down the line if you rely too much on what the machine does or does not deliver. I didn’t want to play this game, now I’m here and want to do it the best I can. Forever it will be fucked up that I am this guy from the mountains and from the trailer parks who just woke up and started playing songs, writing songs, working on songs. I wasn’t meant for this probably but it is nice to fight fate. So I’ll move when I want to or have to. I play in my own favorite band. I’m still waking up, writing songs before there’s a sun and ready to hit the horizon.
From Betsy
7) Your songs often contain very powerful imagery relating to birds. Did you grow up with an interest in birds? Are you using them in terms of their archetypes?
I am the bird now, Antony is a bird.
From Martin, Erich
8) The moon seems to be mentioned more and more in your lyrics and on ‘Fading Trails’ more than ever. Do you think about the moon a lot or does it have a particular meaning to you? Or does it just creep in your lyrics?
“Killers Can’t See The Moon” – that is an old record I wrote but didn’t put out.
From Skye & Erich
9) “The blues” has appeared again and again in your music, sometimes as a guiding or saving force, sometimes as an explanation for the evil and degeneracy inherent in life, and sometimes even as a name for a message that you yourself seem compelled to refine and repeat, despite the tragedy intrinsic to that responsibility. Would you please tell us a little about what the blues means to you, in whatever capacity?
Blues is ‘colored’ music. Talk to Honeboy Edwards, Henry Townsend, Homesick James, Robert Jr. Lockwood, Pinetop, etc, etc. I did. I asked them nothing. I told them something. Those guys who know about all the crossroads stuff and its spirit and what it means is not abstract. These are people. Find them, John Lee Hooker knew so much, he told me some great things and I already knew them.
From Ryan
10) Other than a vague working-class mentality, you’re music is basically apolitical. Do you ever see yourself doing a political album or song?
Good causes don’t sell. Good music doesn’t sell out.
From Richard
11) Whilst much is made of lyrical themes in your work, such as blues, dark, ghosts, moons etc, surely it’s work that’s the common thread throughout S:O and MEC. Is this a conscious, or possibly unconscious, attempt to justify your existence as a musician rather than having a ‘proper job’?
Music is work. I’m up at 4am. I write or play all day.
From Brendon
12) What factors influence your writing the most?
Facts: Death. The Day. The Moon. “The Heart’s There All The Time” was an old song of mine that hit on this.
PART 3 - THE ‘BIZ’:
From Travis
13) Is there anything that you have done in your career that, looking back now, you would have done differently? Anything you had the chance to do but didn’t?
Not a regret but I wrote “The Lamb and Flag” record that me and Low were going to do. Tour conflicts made that impossible at the time and I just threw them out. There’s only a few demos left but I gave those away to fans.
From Brendon
14) What do you love most about what you do? What do you look most forward too? What is the hardest part of what you do? What are you proudest of?
The women. The Women. The Women. Hanging on tight enough.
From Karel
15) What was your motivation behind letting the TV series ‘One Tree Hill’ use the song ‘Just Be Simple’?
They gave me $300.00. I paid taxes on it. We needed gas money. The show? I never thought it was worth anything.
From Justin, Erich
16) In the last Q&A you urged folks to not illegally download music from independent artists like yourself. Since then, the digital revolution has advanced significantly and most of your Secretly Canadian albums & EPs have found their way to iTunes. However, a large number of singles and EPs are still out-of-print and only available via ebay. Would you consider making these available through a digital store as well? The solution would seem to satisfy the collector (he or she would still have his original), the cash-strapped fans (they could hear the stuff now), and the band (more gas for the van).
I’d consider it. My goal is to always present my songs as a Side A / Side B LP. I know that compilations are bound up with writing and recording music but not now.
From Vincent, J.E.
17) Your artwork has gotten more attention over the past few years. Any chance we might see a book or website devoted to your art? What about your poetry?
I’m doing a book of my art. Hopefully out next year.
PART 4 - THE RECORDINGS:
From Josh A.
18) On tour in November 2003 you mentioned having just recorded the album that would become “What Comes After The Blues” when it was finally released 18 months later. In July 2005 you recorded tracks for an album called “Nashville Moon” that, a year later, has only seen a few tracks released via “Fading Trails”. Is there any particular reason for the long delays or are they simply a result of Secretly Canadian’s release schedule?
These sessions are fully conceived and completed records. It will be a matter of Secretly Canadian deciding how best to present them. I think fans will be really happy with what is in the works. It is something that proves how much we approve of their hard work and support. Just know that we are really giving something back. Something that only Secretly Canadian could possibly deliver.
From Andrew, Colin, Vantomas, Josh A
19) ‘Fading Trails’ makes it pretty obvious that you record a lot more stuff than you ever release. Is there any chance we’ll be able to hear more of these great sessions?
(see #18)
From Ryan, Martin & Vantomas
20) Live shows over the past few years have blended your melancholy lyricism with the instrumental grit of the band. Any chance that this more charged/uptempo Magnolia Electric Co. might find representation on a studio album?
(see #18)
From Jeff
21) I love the CD of demo versions that came with the self-titled Magnolia Electric Co. LP. I heard a rumor that there were almost twenty demos for “Didn’t It Rain”. What happened to the rest of these? Might you consider releasing more of your demos in the future?
No plans to release demos. The label, fans, and the trash can have them all right now.
From Chris
22) In Europe last year you mentioned having one more real ‘Goth’ record in you after the release of ‘Ghost Tropic’. Were you thinking of the album that became ‘Let Me Go’ or can we still expect that one in the future?
‘The Black Ram’ is it. A concept record. It is from the perspective of something it is hard to be: a ghost. At the end of this ghost’s first night you hear the cemetery gates close. I can rest then.
From Matthew
23) The “In The Fishtank” session sank when Konkurrant wanted to release it as a Songs: Ohia record after the retirement of the name. Now that Magnolia Electric Co. has built a solid following, might the session finally see release under that moniker?
Those songs are lost Magnolia songs. I want them to show up some how. I don’t have them. Secretly Canadian does not have them. A few fans are trading them. There are some really important things on that session. A demo of a great moment in Magnolia’s life. Mike Kapinus was near death on those songs.
From Oliver
24) Whatever happened to the cover of “Tower Song” that was recorded for the Townes Van Zandt tribute?
Find who has those songs in Texas and get them done! Shit, there is a Jim James song on there and a lot of other good writers. I have not heard from them since I was in the studio.
From J.E.
25) How did the Chunklet 7″ come about? Were the guys from the magazine friends of yours, or did they approach you out of the blue? Are there any plans for more singles or compilation appearances any time soon?
Henry asked me. I gave those songs using what I had around – some shit recording. I have since gone into the studio to do them with the entire band.
No single or comp appearances to come soon. A.T.P. we’ll have something exclusive, I also handed out a tape of demos at the Touch and Go anniversary shows in Chicago and late night college radio has had some exclusive material recently.
From Charlie, Andrew, Josh N., Ryan
26) Will we ever hear from the Amalgamated Sons of Rest again? I’ve also heard rumors of a session collaborating with Andrew Bird, any truth? Who else would you like to collaborate with that you haven’t had the opportunity to yet?
Yes, If I have a way. I had gotten as close as a show with Will, Ali and myself in Paris and it disappeared at the end. I see something in the future on tape.
Sally Timms, Nick Cave, a great vibes player, Dirty Three.
From Tjeerd
27) You used to play the baritone guitar regularly. What attracted you to it and what particular model did you prefer? Why did you drop the B tune for a regular E to E tuning?
Any Jerry Jones models. I like being able to saw the wooden bridge into separated saddles and the pick-ups with the counter top body is perfect. Also that aluminum nut is essential. I’ll ask Tim Midgett about his set up – if he considers it a true baritone. T.V. Jones did the C-melody with the bigs by bridge/trem. Which I played – despite it’s baritone name it’s too much like a guitar for me. Any Neptune, NJ guitars, the whole Silvertone, Danelectro, Harmony era of 50’s – 60’s is what I play. I have some historic guitars – one that was played by Link Wray and the Les Paul I use has been played an loaned all over the music world. I had by dear dear dear R.D. Standard stolen in NYC right before I went on stage. Oneida let me borrow one and nothing says welcome to New York like having one of your favorite bands give you a guitar to play after yours was stolen. Stratotones, and all those great Kay’s I’ve had – those machines make music. For a bass Tele, where is my old one? That’s stolen too.
From Tjeerd
28) The ukulele has been absent from your recordings for quite awhile, any chance it might return?
I’ve a great respect for good machines. I know a guitar does not write a song but it is inside already (the songs). I’ll say that Trigger will not have to live behind glass all day. Fuck museums. Willie will make out a list of who should try her out. If I don’t see Willie again, I’ll wait to see if I’m still sporting a pulse to play that machine, I already gave him my best line and he’s used it. Not the whole song but what I was saying.
From J.E.
29) Where were the bird sounds on Ghost Tropic recorded?
Those are true field recordings. An archived masterpiece given by friends in good faith.
PART 5 - THE ROAD:
From Justin, Skye
30) In the last Q&A you were hoping to find a recording of your set opening for Cat Power because you had written songs for that night that you never played again. Did you ever get ahold of a bootleg or are those songs lost to the winds of Chicago?
The recording exists. I have the master. That plus the demo of the songs I did not play that night I burned. So the recording existed. It was good music, but I saw that she was going to be huge and out of respect I just wanted that part of her tour to be over. To be part of myself and Chan’s nights together.
From J.E.
31) Pitckforkmedia’s review of “Fading Trails” mentions that “his live sets are populated with songs he wrote as recently as that day.” Is that hyperbole on their part or have you ever actually performed a song live the day you wrote it?
Not hyperbole. Come see the solo sets. I probably wrote those songs in your back yard.
From Ned
32) During one of your solo shows in Chicago this year you confessed that you have a tendency to get lost on tour because you have to pull over on random exits to write songs. You’ve been out for a few weeks now, have there been any specific moments you might share about the gestation of upcoming Magnolia Electric Co. hits?
I stopped driving the van. I love the band. I take the train.
From Joop, Emily, Richard
33) I know you’re pretty sick of people requesting songs from your back-catalogue. Your desire to only play new/recent songs suggests that you’re not sentimental about the old records. Do you ever get the urge to revive any of the old songs or does the Molina juggernaut only ever move forward? Or, to put it another way, is playing only new stuff now a matter of principle?
Hemmingway didn’t re-read what he wrote, did he? I’m not able to not work on songs. The guys and gals who make up Magnolia can’t walk the line without music writing.