Start Listening To: Radio Receiver
Stephen King and road stories, exploring the songwriting influences of Radio Receiver.
Welcome to this Q&A session with Radio Receiver, where we delve into the recording process and creative influences behind their sophomore release Honkytonk Insurance. In this album, all 12 songs were initially intended for a quick cassette release, accompanied by a unique concept - a Cassette Koozie Combo. However, as the recording progressed, Radio Receiver's desire for collaboration led to the involvement of various musicians and friends, resulting in a diverse and dynamic record.
Can you tell us about the recording process for your sophomore release Honkytonk Insurance?
All 12 songs were recorded in a take or two solo at my friend Mark Folkrod’s mini studio. I’d only intended to lay these songs down quickly and put them out as a cassette only. Was also going to sell them with a Koozie. The Cassette Koozie Combo. The cassette goes real nice inside the Koozie, help protect it in the a mail and keeps it cooler. An idea behind it’s time.
My songs have always left themselves vulnerable to collaboration. So naturally Mark and I started to poke holes in them and imagine how much fun it would be to have friends play on them. About half these tracks are old songs that never made it on any Hearts of Oak albums. The solo idea was a way to quickly document them but the more I thought friends that I’d played these songs with over the years, the more it seemed obvious to invite them to collaborate.
How did the involvement of various musicians and friends shape the sound of the album?
Oh man, it was so great. Handing single songs off to friends this way allowed songs to take on different vibes depending on who played on them. Also, in a few cases I just handed the demo off and let them produce. This Happened with Ezra Meredith on PHEONIX. Scott Weddle and Sarah Gwen on WORN OUT WELCOME and THE AIRLINE with Barry Walker Jr.
Can you share some insights into the inspiration behind the song ‘Hoary Man’?
One night I shared a bill with Michael Hurley at TURN TURN TURN. A great local Portland, OR venue. I was following him. I remember standing in silence as one would do at a Hurley show. He’d been playing for a while and asked if he should do one more. Scott Derr the owner, bartender, booker, chef and sound guy asked me if that was ok. The full room turned to me as if I had a say. “yeah” of course, shit I wouldn’t cared if I got to play at all. After my set I was standing outside the bar on the corner. Michael pulled up to the light in his old blue wagon. I pointed to him and said to my friend JT, hey there’s Michael. He lowered my arm as if to imply, leave him be, or don’t distract him. There’s really just a part of the song Hoary Man that was inspired by that. I’d imagined Hurley making that drive up to the OR coast from Portland on route 30 in that old blue wagon, just an image really. Not sure where the rest of song comes from, but the line “this old car starts just enough” is from that night.
Could you explain the inspiration behind the song ‘The Airline’ and its connection to Stephen King's short story?
The AIRLINE was actually written by my father Bob Wallace. A great songwriter. I get my word play from him, the wit too. When I hear his song, I combine it with childhood memories. I remember him telling me a story about him and a buddy trying to find a shortcut form Eastport to Bangor, ME. They’d come up over a hill on an old logging road in their Chevy Blazer to a section of water covered road. The way I remember him saying it, they could have torn down the hill and made it through but who knew what laid ahead after that. They were sure they couldn’t make it back through it and up the hill.
Later in life I read this Stephen King story about a woman driving a sports car who became obsessed with finding a faster time between the two towns she was commuting between in Maine. She finds herself stranded on a logging road and monsters get her, you know because Stephen King stories always go there. The short story reminded me of my dad’s tale. His song also being about a treacherous road in Maine.
What led to the change in the lyrics of ‘The Tower’ specifically the alteration from "fake news of the hour" to "eyes bleeding from the story of the hour"?
I really just didn’t want to sing “fake news”, I don’t want to ever say it. I hope I have a better response to something I don’t believe than that. It rolled off the tongue while working on The Tower though, but it just never felt right, I would never say that. “Eyes bleeding” instead isn’t literal but feels better, it hurts to look at. The song is just about how we hold our friends and ourselves to opinions or values that evolve and change over time… “I knew you when you wouldn’t have none of it” Well now you’ve got a home in the suburbs, you started eating meat again and when I borrowed your car it was on the new country station. You think you know someone; I don’t even know myself.
Can you talk about the origins of the song ‘Honkytonk Insurance’ and the influence of Countryside Ride?
I sometimes find my self repeating words that don’t rightly go together. Honkytonk Insurance seemed so silly that I could get away with putting the word Honkytonk in a song. My Deer Lodge Records label mates Countryside Ride are the kings and queens of the NW Honkytonk scene. The new generation looks up to them too. I look up to them for killing it and being sweet people. I joked in my head about having them cover this song, maybe someday they will.
What prompted the creation of the song ‘Phoenix’ and its connection to sound and visual perception?
I’ve worked a lot with my band mate from Hearts of Oak (my other band) Ezra Meredith. I wasn’t coming around Deer Lodge at the time either. Funny the way we’d worked on HofO albums was much like this. I’d lay down the song, but he’d take if from there. I just sent it off and knew whatever he would send back would be epic. The song itself was a way longer tune, with lots more verses but wasn’t saying much, at least to me. While trying it this way I just stopped and shortened it. It had the line “sound plays tricks on your eyes”, that’s repeatable offense so I tried that. Ezra added those epic guitars. Side note Ezra and I are working on a new the Hearts of Oak album based off some reel-to-reel recordings and a double album is coming out later this year. Huge tease!
How did the collaborative efforts of Sarah Gwen and Scott Weddle contribute to the song ‘Worn Out Welcome’?
First of all, Sarah Gwen is one my favourite songwriters. So, I’m always looking for excuses to collaborate with her. I wanted to break this sone out into a duet but different than the standard verse swap style. I take more verses first; she kills it in the middle then we take it home together. It’s not balanced but the story is so familiar. The man is good man, but he feels the pull of the road and just as soon as he wears his welcome back home, he wears it out again even faster as he leaves.
What do you love right now?
Music wise I can’t get enough of the new Graves album, I HAVE SOME THOUGHTS. Also the Supplemental Pills album, comes out soon, but I have a copy and that thing is incredible, for fans of Endless Boogie check it out. I’m always reaching back and as I type this it’s Bob Dylan’s birthday and I’m due for my annual spinning of TRIPLICATE and it’s getting late.
What do you hate right now?
Only thing I hate right now is Ethan Michael Asbach. The man who shot and killed my friend Aron Christensen and his dog (bass player in Hearts of Oak and Supplemental Pills) - note you don’t have to print this answer, but google the names just to read the craziest story you’ve ever heard.
Name an album you’re still listening to from when you were younger and why it’s still important to you?
John Stewart CALIFORNIA BLOODLINES. Recorded across the street from the studio Dylan was recording NASHVILLE SKYLINE in at the same time. Some of the musicians just crossed the street. Legend has it.
Can you discuss the influences and musical direction of the album as a bridge between your first release and the next Radio Receiver record?
Well, this album was just supposed to be a short little solo cassette release but evolved into what it is. A huge collaborative album with my songs tying it together. Time has funny way of reshaping vision. There are songs ready to go for RR Vol. 3 and I suspect it will be a more cohesive album but shit I don’t know. Honkytonk Insurance is my OLD WAYS , the Neil Young country album he had Waylon and Willie sing on between EVERYBODYS ROCKIN and LANDING ON WATER. Some days I imagine the next album will be like Alex Maas’ LEVITATION SESSIONS other days like Gillian Welch’s SOUL JOURNEY. I’d be happy with either one.
