I’m gonna change the car I drive, I’m gonna change the name of this town. You can’t come in and I’m gonna change the way I dress. I was enjoying using those metaphors for, you know: stay away and I’m gonna change the locks. Is your track Changed the Locks based on reality? axolotly I have to assume it’s because I brought Steve in, but I love the guy and we made some great music together. He’s told me “That’s not how it was”, but won’t tell me why he got upset. Like my old guitar player Gurf Morlix … we fell out during the making of Car Wheels. There goes my punk reputation! But at first I thought I’d have to wait until everyone in it had died. Like writing a journal but where you don’t have to hold back, although I didn’t want to offend anyone. What was it like to write? VerulamiumParkRanger Your forthright memoir Don’t Tell Anybody the Secrets I Told You is a compelling read. They were new and it was out of character this wasn’t Public Enemy! But in a way that makes what they said braver. The mistake made in my opinion was apologising after they said it, but they got so much pressure from their record company because it was affecting sales and their fans were so Republican. Did Bush ever take your invitation – in solidarity – to “kiss my Dixie white ass”? RamblingChap
#No more secrets lyrics full#
I was in the audience for your show at London’s Shepherd’s Bush Empire in 200 3, shortly after the Dixie Chicks had felt the full force of the redneck country music establishment as a result of their criticism of the Bush administration’s invasion of Iraq.
I ended up going back in with Steve and his engineer, initially just to recut a couple of tracks but before we knew it we had redone all the songs. I heard the rough mixes for Steve Earle’s El Corazón album, compared them to my own and Steve’s sounded like I wanted my record to sound. What didn’t you like about it? viennesewaltzer You scrapped the first version of Car Wheels on a Gravel Road, recorded with Gurf Morlix producing. ‘The heart of what I do is rock’n’roll and punk’ … Williams performs at Roseland, New York, 2001.
I loved Vic and was heartbroken when he left us. But somehow he connected with me and my music. “This motherfucking, cocksucking …” you know.
The first time I met him he spun round in his wheelchair and out came this flurry of obscenities. He could come across as very gravelly or edgy when you met him, because he’d be in his wheelchair and he didn’t want people to feel sorry for him. I was surprised he did that, but it was very sweet. What did you think of the Vic Chesnutt song named after you? troyka I had no idea he was going to do it and it says everything about him as a person. You need to pay attention.” It was just so heartwarming and moving, because nobody ever does that. Tom saw this happening so one night he came out on stage, took the mic and said: “I want you to listen to this next artist because she’s really good. The audiences didn’t know me and people would be sitting there with their arms folded, waiting for Tom. He was always very concerned with how I was doing and feeling. I don’t get the comments I got when I started out, like: You’re pretty good for a chickĭo you have any favourite memories of spending time with Tom Petty? Stozzlar I went to one guy’s office in Beverly Hills and he was jumping up and down in his Gucci shoes going: “It sounds so good!” And I’m sitting there going: “It sucks. I told one guy I wanted the producer who did Bob Dylan’s Blonde on Blonde and he went: “Is Blonde on Blonde a band?” I hated the way they made my music sound. I had a very different experience on a major label. Hank Williams was a punk, but I have just as much in common with Shane MacGowan of the Pogues. I didn’t get the chance to meet the Pixies or any of those bands, but at the heart of what I do is rock’n’roll and punk. How did it feel being a country singer in such company? VerulamiumParkRanger Your 1988 eponymous album was released by British label Rough Trade, whose other albums at the time were by the likes of Easterhouse, Band of Holy Joy, the Smiths and the Woodentops. We were told: “Pick a switch, child”, and you’d have to go into the garden and pick your instrument of torture. “The sweet honeysuckle that grew all around / Were switches when we were bad” is about the narrow branches they’d use to whip us. My grandfather was a Methodist preacher and I remember the way my grandmother would throw the coffee grounds into the garden. I was thinking about the house my mother’s parents lived in. I really like Bus to Baton Rouge: the lyrics, the recording, the way it came about. Which of your tracks are you most proud of? axolotly
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