Another instance of duality is in the instrumentation of the songs; it seems simultaneously quiet and intimate, but still aggressive and guitar-driven. How did you achieve that?
I think it’s a team effort. Waddy may do something with a straight-up, classic rock-and-roll, Gibson (guitar) approach, where I’m doing a small-bodied acoustic guitar. All of the sudden it creates something interesting. That wasn’t really a plan, but as you start cutting stuff, everybody is so involved and creative, it moves so fast as soon as you hit on something good. Plus, it goes to the mastering. (Richard Dodd) mastered it much more rock-and-roll; much tougher; punchier; more compressed; just jacked-up good. That pulled up stuff we didn’t actually realize was in there. So, it was, like I said, a total team effort; not my big vision. The only thing I knew was that I wanted it tracked in Southern California. A lot of these songs were written very folky; fingerpicking; mellow; in a much lower key. When we got in the studio we jacked it up.
Why have two different versions of “Alone” bookend the record?
It was Chad’s idea. It was the first song that he truly fell in love with and said, “I know the record. I get it now.”
You mentioned a variety of Southern California influences, but at times I hear some others, like George Harrison on “Traveling with Friends.”
I’ll tell you an influence that sometimes gets overlooked is Cat Stevens. If you think of that you’ll hear something in there. There’s a dialogue with one’s self. I am, but what am I? What do I want? These existential questions. You’re no longer thinking of picking up chicks or becoming famous. You’re not discussing life on the road. You’re discussing your actual existence. That (informs) a different cadence.
One of things I’ve understood about addiction is the idea that an addiction makes choices for you, and that breaking an addiction means regaining ownership of your choices. I sense that a lot in these songs.
Absolutely. It’s a bit of awakening. I’m realizing that I’m free. It’s daunting. I have two teenage kids, mortgages, careers, employees, addiction, AA meetings; there’s a lot. Every minute of the day there is something. I got to my age and it’s, ‘Oh, shit. I’m one-hundred percent free.’ I was born free and I’ll always be free. I can choose to not do any of it. I might look like a (jerk), but I can. (Laughs.) It was a turning point for me. Okay, so what are the things I’ve committed to, the responsibilities that I have to continue, and what are the things I enjoy? And on the other side, what is not a commitment? Can I drop something? Can I make a change? I felt like I needed to make a change and I started to make those changes.
At your show this past November at the Troubadour in Los Angeles, you spoke about being a recent recipient of U.S. citizenship. What did that mean to you?
It was a really powerful moment. I don’t think I anticipated how strongly I was going to feel when I got the papers back saying I was accepted. I literally fell on my knees crying. I sat and thought about it. The ceremony was really, really special. It felt like I understood the responsibilities- not only the opportunities- in protecting the wonderful idea this nation is: a beacon of hope for the whole world.
You also seemed to joke about what you may do as a songwriter now that you were entitled to free speech.
The fundamental idea of this country is that you cannot be condemned for your opinion. I realized at that moment that I had censored a lot of my thoughts because I’d been worried about my (citizenship) situation. I don’t think that will change a lot, but certain issues that are important to me, that I don’t want confused with politics, I may be engaged in those. Something I feel strongly about is that a lot of people waste a lot of time and energy on being intoxicated instead of being spiritually fit. You may see me do some more work there. But, basically, (I know) I have a responsibility to uphold and protect (that right), and that feels good.
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