I found Rosie Thomas while watching the delightful indie film Calvin Marshall, which featured her dating Steve Zahn’s drunken, washed-up college baseball coach, and because the film featured an extended scene of her performing what sounded like an original song, I had to seek out more information. A short search led me to this impeccable cover of R.E.M.’s “The One I Love,” which showcases the more mournful side of the song’s lyric. It also fully showcases Thomas’s vocals, which are definitely worth taking the time required to listen.
Hailing from Michigan, Thomas has an extended musical family including the likes of Sufjan Stevens, Damian Jurado, David Bazan (Pedro the Lion) and Denison Witmer. According to her website she’s working on putting finishing touches on a new album, and if it’s anything like what’s come before, it’s sure to be an indie treat.
Here’s her version of “The One I Love,” which was on her 2006 album These Friends of Mine:
Reckless Kelly formed more than a decade ago in Bend, Oregon, and since 1997 the band has been rocking Austin, Texas with its blend of country and rock. Led by brothers Willy and Cody Braun, the band has crafted five albums of original songs, two solid live albums, and, in 2010, a studio album paying tribute to their musical hero, relatively unknown Idaho-based country songwriter Pinto Bennett.
They’ve been around the block more than a few times, and they’ve proved consistently that well-written songs coupled with addictive, melodic alternative-country instrumentation and incessant touring is what really builds a band’s reputation. They’ve got big names on their side, from Joe Ely (who joined in on the Pinto Bennett tribute, Somewhere In Time), and they’ll spend most of the month of November touring with Robert Earl Keen and the Randy Rogers Band.
I spoke with lead singer Willy Braun as the band prepared for their October 7th show at Baton Rouge’s Varsity Theater, and he had a lot to say about the trials of songwriting and the ongoing struggle to keep the band’s music, above all, original.
It’s a battle they seem to be winning.
Can you give us some insight into your songwriting process? What makes a song successful in your mind?
I still haven’t written any hits, so I may be the wrong guy to ask. But I just like to write songs that have something to say, while being a little less predictable than the normal tune, I guess. I try to write things that are a little less common, to think outside the box. It gets harder every year coming up with new ideas and different approaches, but I want to write something you don’t hear all the time.
What would you say is your role as a songwriter?
I think it’s all about getting the song written in as few words as possible. You’re telling a story and you have to figure out what to say, and I like to get it done with a couple verses and a chorus and get out of there … but sometimes it takes longer. Just trying to get the most out of a tune, I think, is the tough part of the job description. A lot of times you’ll have a great idea but you’ll end up with a mediocre song, but then sometimes you start with a mediocre idea and end up with a great song. It all depends on how much work you put into it, and the shape that a song takes. It’s strange, because you never know … I’ve worked on songs for years I thought were pretty awesome, and when I finally finish them up they’re just okay. Or they’re terrible. I think just getting the most out of the tune is probably the biggest challenge.
Do you feel working from the fringes of both the country and the rock world makes your music, in the end, better for the trouble?
It’s a lot easier on us, because we don’t have to pander to any one format or the other. Not having a lot of success on radio makes it easier too, because nobody’s expecting us to come out with another hit. They’re more likely to expect us to push the envelope and keep things a little more outside the box, so that makes it easier on us to be able to do what we want to do.
You didn’t write any of the songs on Somewhere In Time, but you did stamp Reckless Kelly all over the arrangements. Was it difficult to rearrange these songs you knew so well and make them accessible to your fans?
Well, it wasn’t really that hard for us because we’d been listening to those songs for so long, and we’d been talking about doing something like this for a long time. So we had a lot of ideas that we’d been working on or just thinking about, and we had Pinto come in while we were recording. So he and a couple of the guys from his band were there working on it with us. We kept them there to make sure they’d tell us if we got too far out of line. I think that might have helped.
Steve Earle honored Townes Van Zandt a decade after his death with Townes. Did you feel it was important to honor Pinto Bennett while he was still around to appreciate it?
Yeah, that was something we’d talked about a little bit. He’s getting up there a bit in age, and we definitely wanted to do it while he was around. I think it was cool for him to be able to check that out and experience it.
Is there a lot of other Idaho-based country music you think people should be hearing but they’re not?
Well, there’s a pretty good music scene up there, and there’s a couple good writers and singers working in the area, but Pinto, he’s the one who we’ve always really looked up to, so that’ll probably be the last one [we make a tribute for.]
You got to work with Joe Ely on this record. Are there any other artists you’d really enjoy the chance to work with?
I still want to do a duet with Emmylou Harris.
Is there a new album of Reckless Kelly originals in the works?
Yeah, I’m actually writing right now and we’re hopefully going to be getting into the studio sometime next year. We’re not sure exactly when, but we like to record in the winter or the spring, and try to get the record out by summer. You can have the record ready in time for summer touring, and that’s always a good thing to have. So that’s the loose plan as it stands right now.
You guys have said you came to Austin expecting to stay a couple years and you’ve yet to leave. Is Austin a more nurturing place for songwriters than the insular world of Nashville?
It’s true that Austin and Nashville are totally separate. Nashville’s more of the industry-driven town, and there are a lot of talented songwriters and musicians working out there. But I feel Austin’s more geared toward live music. People down in Austin seem to be playing the music they’re interested in; not just playing the music they think will make them a bunch of money. There’s nothing wrong with playing songs that make money, but that’s the big thing that sets Austin apart, there’s not so much “industry” here. It’s more about the music.
That hasn’t started changing with the growth of the South by Southwest festival?
Well, they come in for the parties and then leave in the end. They don’t get any business done in Austin; they’re too busy drinking margaritas.
When Sugar Hill put out their “Best of the Sugar Hills Years” collection, your album and James McMurtry’s stuck out as the most sonically adventurous. Yet both of you are now on new labels. Have you been able to better push the sonic envelope now that you’re on Yep Roc?
We have a little more control with Yep Roc, but Sugar Hill was pretty great – we got to make the records we wanted to with them, though we did have an A&R guy when we were with Sugar Hill. So we had to jump through a few more hoops, push a little harder to do the stuff we wanted.
Was this the same A&R guy you sang about on “Break My Heart Tonight”?
Yeah, that’s him. But ultimately we ended up making the records we wanted to with Sugar Hill, but we may have had to fight a little harder. When we went into Yep Roc we were aware of that, and we made it clear up front that we wanted to make our records, we didn’t want to have to send in the songs for approval. If anything, we wanted to deliver a record to them, and since we talked that way going in, they seemed fine with it. So that’s been cool, we’ve been able to produce our own records, and they’ve gone to the trouble of helping deliver a good product.
They didn’t think you were crazy to bring a Pinto Bennett album to them after starting to crack the charts with Bulletproof?
They thought we were crazy for a little while, but once we played them the tunes – we sent them a little “best of” thing to get them hooked on the Pinto stuff – and once they heard the songs they were totally on board.
The Dixie Chicks almost ruined their careers when they spoke out against Bush in Texas. But your song “American Blood” seems to have found a way to reach listeners without offending them, even though the message within is just as scathing. How important was it for you to get that message out to your listeners?
Well, I wrote that song while we were working on the Bulletproof album, and when I wrote that tune and played it for the guys, we knew this was going to turn some heads. People were going to be talking about it. We just wanted to put it on the album because it was such a strong song, and we all had pretty strong opinions about the war at that point – and we still do. We definitely thought about it, and we knew what we were getting into, but I think the difference between us and the Dixie Chicks is that they had this enormous national and worldwide following. So we didn’t have as much to risk as they did.
But I think it’s all about how you handle questions about it and the way you deal with negative feedback. We had a little bit of negative feedback on the tune from people who didn’t quite understand it, or who outright didn’t agree with it, and that’s fine. But we take those individual situations and try to explain to those who disagree that we’re not trying to slap anybody in the face here. It’s worth it, because most people who heard it came back and said they really liked it. In fact, several soldiers who have been over there, or who still are over there, tell us they really think it’s great that we’re saying what we did. That means a lot, and at the end of the day most of the people who heard it understood where we were coming from.
What impressed me about it was that I heard the song several times before it fully clicked, but it’s so rhetorically well constructed. You’ve got Johnny, the American soldier archetype, and then you’ve got George W. Bush, and you keep going back and forth between the two to see where both ended up after all that time. I don’t know a lot of songwriters who could get that across and still have the song sound catchy.
Yeah, it was a tough subject to tackle. Like you said, it’s sensitive and everybody’s got a different opinion on it. It took me quite a while to write that song, actually. I was writing it for several years and went through several different versions of it. And when I finally wrote the one that actually came out, it came together pretty quick. So I think I finally stumbled upon the formula I was looking for. I had to abandon all the other ideas I’d had for so long and just went with it.