Isbell's big year has included new album/tour, HBO doc, 10th anniversary edition of 'Southeastern' and a key role in 'Killers of the Flower Moon.'
finish a sold-out eight-night run at Nashville’s historic Ryman Auditorium, where they’ve been doing yearly residencies since 2014.legendary director Martin Scorsese’s new film, which features Isbell’s first major acting role, hit theaters to rave reviews.“Weathervanes,”shed new light on Isbell’s band dynamics and the creative process behind his author/auteur lyrics. Also a deadly guitarist,, Snoop Dogg and Smashing Pumpkins this year.
At the end of our scheduled 20 minutes, I ask one more question, about small gigs Isbell, now 44, played in the Huntsville market while paying dues. He then tells a couple of fun, gigs-gone-wrong stories. Have you on past albums, or new stuff you’re working on, ever composed on bass or piano ? Is that something you think you might do more in the future?
The piano problem, that’s the thing. Like, I wrote “River” off of “Reunions” on piano, and I made the mistake of letting Dave Cobb know that, and he made me play it and sing it at the same time in the studio, and I’m not a good piano player. So that was that was tough. It worked out nicely, but it was hard.It was interesting watch you singing without a guitar in the HBO documentary.
That one took a lot of finagling. I don’t know exactly how many days I spent on it – probably close to a week. But yeah, it just needed the transitions to be right, and I needed the themes of the song to move. Because you’re dealing with like a flash forward in time and that song is sort of a conversation with your old self in a way.
And that is unbelievable to me, the potential that has for driving you insane. It’s almost as though, you know, if you do too much therapy and you self-actualize to a certain point, you might not be able to cry on cue anymore. Everything else I’m OK doing on the spot, but I like to have the songs written by the time I get in the studio, and I didn’t have that one. And it’s such an outlier. It’s such a different type of song for that record. When people say that it doesn’t belong on the record, I totally understand that.
“Super 8″ is such a great live song, one of my favorites in your live shows for a long time. It brings that kind of “Casino Queen” were to be part of one of the big Van Halen shows with Roth, Hagar, the whole enchilada. What can you tell us about that? Because we all love Eddie Van Halen and Van Halen, any kind of insight into that, or how you guys are going to be involved, I think people would love to hear.
So I took it him and snuck it into Fender offices after hours and he wanted to listen to it clean and really loud and he was shocked. He covered his mouth with his hands, and he was like, how is that possible? He took the pickups out and put the meter on them. And apparently, the neck pickup on the guitar is overwound. But the magnet is underpowered in the neck pickups.
And that’s how a lot of the ‘59s, ‘58s and ‘60s they have their own little quirks that make them individual. Like the one that was Peter Green’s that Kirk Hammett has now, one of the pickups was reversed, the polarity if it reversed, so that middle position sounds really strange and really good. And we had a gig at, what was it called, Mr. C’s lounge. It was like the ballroom of that old hotel , and that place was wild. I mean, we didn’t make hardly any money, but we had a blast playing that place.
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