Heavy Drunk On the Making Of “You Don’t Know Me”
Can you share any interesting or unique stories or perspectives in 'You Don’t Know Me?'
The working title of the record was ‘The Intervention’ which is a song about the second time I got arrested as a minor. A lot of these songs are stories about stupid things I did, somewhere along the way. There is plenty of fodder, what I can remember, and things folks tell me I have done.
The title track “You don’t know me” is about how much we change when we meet the loves of our lives. The person you were before has to die a little bit for the new love to grow. You can’t leave your reefer smoldering in the ashtray anymore.
Have you noticed any particular interpretations or connections that listeners have made with 'You Don’t Know Me?'
I’ve laughed a lot with listeners. I’m pretty Blount with my personal stupidity And it is funny the ridiculous corners I paint myself in. Then I have to be able to pee accurately into a cup while swinging from some place high in the rafters that may not hold.
What did you enjoy most about making 'You Don’t Know Me?'
I love hearing the band bring a song to life for the first time. It’s also fun to reinvent songs we’ve been playing for a while. I really like writing horn lines with Roy Agee, Emanuel Echem and Evan Cobb. The back and forth is creative fun: “How about zee zee bebop compinchawchaw starting on beat 2?” and they understand exactly and make it all sound so great.
Can you share a memorable experience from a collaboration that enriched your music?
Working with Casey Wasner on the HeavyDrunk records has been a blast. Anything I bring him, he makes better. I wrote a song with my son Bo called ‘All Nighter’ that we released as a single a little while back. Casey really took that song to a new place. And it’s a warm fuzzy place under the stars.
Is there a specific song that holds a particularly special meaning to you? Can you share the story behind it?
“47 lb Rooster” is a special song to me. My dad and I came up with a few lines to get that started “Rock-eyed Roland, Rhode Island Red” particularly comes to mind. Then Lyman Ellerman and I finished it. When we cut it this time, we arranged a New Orleans Horns thing for the top. It’s greasy fun, with one foot in the gumbo.