It’s impossible to pigeonhole Shooter Jennings. Because releasing 2005’s Put the “O” Back in Country, he has actually has meddled country, rock roll, electronic music as well as video-game scores– and that’s just for beginners. The multi-talented musician signed in before a recent show.
You just recently opened up for the Old 97’s on a few Texas dates. I think they opened for my father [Waylon Jennings] back in the ’90s at one point. He really fell in love with Rhett [Miller] and the band. He wound up taping a couple songs in the studio with them, that didn’t come out for a long time until me and the Old ’97s put them online. [The band has] remained in my life because I was quite a bit more youthful, like, 18. To lastly do some shows with them after all this time is remarkable.
You’ve been on the road for a few months now. Exactly what’s been the most rewarding feature of your latest run of programs? I did a couple years exploring with my father’s old band, Waymore’s Outlaws, and that was a lot of fun. However I’m going back to my band, my LA band. We have actually done a lot of records together, but not a great deal of substantial touring. It’s actually amazing to obtain out and play these tunes on the road with these guys. It’s such a fantastic band.
What is visiting with this band permitting you to do that you haven’t ben able to do the past couple of years? We’re revisiting a great deal of old product, which is truly nice. A great deal of the Black Ribbons product, which is harder but fun and daring. We can play the nation stuff, the heavy stuff, whatever we desire, to try to craft the best show.
Has doing these shows kick-started any song ideas? We’ve already tape-recorded a record. We’re just resting on the material, because we’re creating a strategy– when to release and how to launch. And we’re doing a lot of various things on the side at the very same time, other records with other people. We keep new things pretty near to our vest, since YouTube and things like that make that not a lot enjoyable. I have actually always been someone who liked to spring the brand-new things on people on a record initially.
There’s something about entering into a shop, buying a record, unwrapping it and putting it in a stereo– it’s kind of a lost art. For sure, physically or digitally. When I say record, I indicate both. Physically, our label [Black Country Rock] presses a great deal of vinyl, and we have a product that we have the ability to make and sell. We put a great deal of heart and soul into the art and the design of it and whatever.
I gather vinyl. It’s like having an artifact, something physical that marks a period of time. That is something that is lost in the digital age.
What have you bought recently that you’re most stired about? 9 Inch Nails has this new vinyl store, and they have actually rereleased a lot of their old records. I was a very big 9 Inch Nails fan when I was younger. Trent Reznor’s kind of the reason I began to do music. They have actually reprinted a bunch of old things on vinyl. There’s an album by a band called Prick that he produced that I loved [1995’s Prick, and they’ve rereleased that on vinyl, and they have actually rereleased the Lost Highway soundtrack on vinyl. And they rereleased the Quake soundtrack, the computer game that Reznor did back then, on vinyl. I simply bought all 3 of those.
I purchased The Fragile: Discrepancies 1 on vinyl, the four-LP set. Me too. I bought that, I bought The Down Spiral and I purchased Broken, which I was extremely excited about to have on vinyl. I’m waiting on those to show up. My better half’s preferred record is The Fragile; my own’s The Downward Spiral. The Downward Spiral was the record that influenced me to play music. I could not believe that record when I heard it. I was like, “This is the most aggressive, layered, cool, original record.” I was 15 when it came out, and it simply spoke to me.
On the Giorgio Moroder tribute you released in 2015, Countach (For Giorgio), you got Marilyn Manson to cover David Bowie’s “Feline Individuals.” I was a big fan of Marilyn Manson maturing, and then we end up being friends about two-and-a-half years earlier– we just clicked. He was whatever I hoped he would be by the time I satisfied him. It blew my mind having the ability to have a hero of mine like that on a record. I was a fan of Antichrist Superstar and Mechanical Animals and all that.
Exactly what was the motivation for doing the Giorgio Moroder record? In 2012 I began digging into Giorgio and truly falling in love with his tunes. They were just excellent songs and plans, and I was becoming obsessed with him. I had put together a George Jones tribute record called Don’t Wait Up (For George), but at the same time I wanted to do something various. It hit me to do, like, a George/Giorgio thing. Initially it was going to be two songs, like two 7-inches or something. The George one developed into an EP, and then I resembled, “Well, we got ta do a Giorgio one to go with it.”
The concept was to utilize drum makers and synthesizers on the George record more and use more live drums and fiddle and steel and things on the Giorgio record. They were type of like a pair. The Giorgio record, because the tunes are so long, became a full record. I was really happy. To be able to get through that was like an experience. When I did Black Ribbon, the idea record we had, that was handling something big and persevering. This was another experience, in a way. Survival. Like, “I’m doing a Giorgio record. I’m going to complete it, and it’s going to ready.”
In a way, it likewise teaches you things. I constantly heard that Hunter S. Thompson would retype Ernest Hemingway books to get his composing design down, and learn from the within out. Doing a record like that on Giorgio taught me a lot, since I was trying to follow his arrangements pretty carefully and adapt them and learn how he thought from the inside out.
You recently played the Bob Dylan tribute, Dylan Fest 2017, and you did his tune “Man Provided Names to All the Animals.” What drew you to that a person? I was visiting my mama in Arizona with my spouse and kids. We remained in the automobile with her, and she was playing the Slow Train Coming record. That song was on at the minute when they asked me to do Dylan Fest. And I was like, “I wish to do this tune!” I mean, I simply love the song. It’s so easy, and it’s stage-y and vibe-y. I also understood that everyone there was going to be dealing with the success and aiming to sing like Dylan and stuff. It was like, “I’m going to do something weird, and have fun with it.”
I’ve done “Isis” a bunch on trip, and I sent a lot of songs [over for factor to consider], but my very first choice was constantly “Guy Gave Names to All the Animals.” The man who was the bandleader was like, “We’ve constantly wanted to do that one! Let’s do that!” I was type of stuck, and I needed to do it, however it was a lot of enjoyable.
Do you have any memorable Las Vegas moments that stand apart? I live in LA; I went to Vegas, like, every weekend for the very first 4 years of my time there. I have actually been there 17 years. Vegas was a location you go to party for the weekend, or I’ll take my partner for her birthday. I have lots of Vegas stories.
I saw 9 Inch Nails with A Perfect Circle there when Twiggy was playing bass in Nine Inch Nails. I believe that was during the With Teeth record. I remained in a hotel space with Maynard [James Keenan], and he had a roadway case loaded with wine and wine glasses. I remember being like, “Wine and wine glasses in a road case– that’s the very first time I’ve ever seen that.”
Shooter Jennings with Jamie Wyatt. July 14, 8 p.m., $25-$39. Vinyl, 702-693-5000.