A CONVERSATION WITH LOUISE TAYLOR (continued)

PM: So, just a taste about all the guitars you may have used on this record.

LT: I personally used mostly my number one Froggy, who's called Betty.

PM: Is that a big body Froggy?

LT: Yes, she's a big girl. And I guess it's like a J-200, sort of that size. But the body is thinner, so it's not as boomy a sound. But it's the main guitar I travel with. I've had that since 1991, and it's a really amazing guitar.

PM: Oh, yeah, then, I know Betty. I've seen you play her around the campfire at Kerrville.

LT: And then I played just an electric that I picked up, that's nothing special, but--

PM: Has a good sound, though. What is it?

LT: Yeah, I like it. It's an Epiphone, with a humbucking pickup. I actually just got the guitar about a month or two before I recorded, because I really knew I wanted to have electric on it, and I didn't have a lot of time. I was on tour, so I just went out in one day tried about four guitars, and said, "Okay, I'll take this one," and brought it home, and learned what I could on it as quickly as possible. And I wound up playing slide on the record on that.

PM: Yeah, that was something.

[laughter]

LT: Yeah.

PM: And rockin' right out on it.

LT: [laughs] That was one of the scariest songs we did on the record.

PM: "Firebox Coal Train."

LT: Yeah, because it was the end of the session, and it was late at night and I was tired. And I was like, "Oh, jeez, I don't know if I have the strength." I played it through once and it was kind of horrible. Then we just did a second take, and that was it. And that's what you hear, just Dean and me rockin' away.

PM: There's a challenge here, to folk radio and the Americana radio stations that have given you good play. This record is obviously a more jazzy departure, even a more world music jazzy departure. Now, I would say that jazzy music that comes from a folk oriented place--call it folk-jazz if you want to--is its own thing, and it should get played on folk and Triple-A radio. Don't you agree?

LT: Well, that's the problem I have with any kind of boundaries, I just don't like boundaries of any sort. I think good music is good music, and it should be played. And I'm hoping that this music comes across as good music, and so I would like it to be played on all kinds of stations. But if it doesn't find its way into the folk world, then maybe it will enter some jazz program. I tried not to think too much about where it would get played. I did get worried afterwards, after I made it, like, "Wow, maybe it won't get played." But I think those people who have supported my music all along have always heard this jazzy side of me trying to get out.

PM: Yeah. I mean, it's always been present to some degree or another. And I mean, when is something too jazzy, anyway? A minor ninth chord, a chromatic melody, a flat five? I mean, where do you draw the line?

LT: Yeah. I just have to play things that are interesting to me, that keep me going. If you're not getting the financial reward from music, you have to at least be getting an artistic reward, I think. And for me to keep doing this, what I've been doing for so long, and struggling with, I have to be interested. I don't want to be out there just playing what I think people will play on the radio. And that never works anyway.

PM: Yeah.

LT: So I did realize that this would be challenging, and it may wind up being played more in Europe than here in the States, because I think they are more open minded in Europe. [But in fact it's already getting good play in the States at this writing.]

PM: Oh, I think they are too. And I think that segues into my next point. I think it says a lot about how cool Signature Sounds is, that they go a little outside the box with you on Velvet Town. That's an artist oriented label.

LT: It is. I think I initially handed them 22 songs, something like that. And they were more interested in the folkier material, which is understandable. But when I went to them and said, "These are the songs I want to do," they supported my choices. And that's very unusual, I think. I think they were concerned about marketing the record, but they were willing to go with me on it.

PM: So if you believe, and I see the wisdom there, that it may also find favor abroad, does Signature have the wherewithal to facilitate that, or will you look for a foreign label?

LT: I'm going to look for a few foreign labels to license it to. Hopefully, I'll find that.

PM: And your contract allows you to do that?

LT: It does, yeah. I was originally just doing this as their record, and as the record went over budget and I put money into it, we restructured it into a licensing deal.

PM: Good for you.

LT: And they can distribute it in some of the countries where I've done well already, which are Denmark and Holland, for instance. And I believe they have distribution in Italy. I just have to decide whether I'm going to let them distribute it there, or whether I'm going to try to find a label there. Probably they'll distribute it there.

PM: There should be a consultant, somebody who can help you field those questions. I can't put my finger on them, but I'm going to try and help you look.

Let's see, do we have any more questions? Oh yeah--I know you to be an avid reader. Whatcha reading lately?

LT: A few things, as usual. Two on the historical side, American Colonies by Alan Taylor (no relation) and Eye of the Storm, from the Civil War journals of Pvt. Robert Sneden. Some fiction, too: Carter Beats the Devil by Glen David Gold.

PM: Interesting traveling companions. You know, that person you were describing at the top of our conversation, who was hitchhiking around for six years, and even dancing on the street with drummers, I mean, I still hear that person in your records.

[laughter]

LT: Well, she's still there. [laughs]

PM: And I believe the records are better for it. I think you're a really important artist, and it was great to talk to you today.

LT: Thanks, Frank, my pleasure.

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