Catching Up With… Rhett Miller
Rhett Miller’s new self-titled solo album is his third since 2002, which would be enough to keep most average musicians busy. And yet, as the frontman of the Old 97’s, Miller has also recorded two studio albums with the band, as well as the double live release, Alive and Wired. While Rhett Miller is perhaps the songwriter’s most personal and intimate album to date, he’s also just finished making a record in the opposite direction, as the Old 97’s ready the release of a covers EP. Last month, Paste caught up with Miller during a long drive to Boson. We discussed the Old 97’s renewed passion for recording, David Foster Wallace, and the possibility of reviving his feud with Ryan Adams via Twitter.
Paste: The Old 97’s were just in the studio recording a covers EP. What made y’all finally decide to do one of those?
Rhett Miller: Management told us we had to. [laughs] We’d wanted to do it for a long time, and it was so much fun. Basically, the fact that we found Salim Nourallah, our producer… I know I speak for the rest of the guys when I say we all just want to work now. We’ve finally found the perfect working environment, and we want to keep doing it. We had so much fun recording these covers. We did it very quickly, real slapdash and fun. We didn’t rewrite the songs by any means; they’re all pretty faithful to the original versions. We just play ‘em. It’s just the Old 97’s playing these songs. It was fun, man. The thing that makes me laugh is that, you know, I hear that we’re supposedly a “quintessential Americana band” or whatever, and we just recorded a five-song EP where four of the songs are by British artists.
Paste: Were you focused on covering your influences?
Miller: No. Ken [Bethea], Murry [Hammond] and I, we just each picked out a few songs. Ken brought in a song that the rest of the guys in the band were all really familiar with but I didn’t know very well. Have you heard of The Fratellis? They put out a record a couple of years ago called Costello Music, and there’s a song on there called “For The Girl”, and it’s great, man. While I was learning it, I was like, I wish I had written this song. Holy shit! So, I’m very excited about that.
Paste: It seems like a lot of your influences are authors, as well as musicians. You’ve said that the first track on your new solo record, “Nobody Says I love You Anymore,” is about David Foster Wallace.
Miller: I don’t know that’s totally about him, but I realized at a certain point when I was recording it that I could not figure out what the fuck the song was about, which happens more often than you’d think. Half the time I have to play it for my mom, and then my mom tells me what she thinks it’s about, and she’s right. But in this case, I felt bad, like people were going to think it was about my wife or my marriage or whatever. And I realized, you know, “Oh, my God. I think it might be about DFW.” I started going through the lyrics, and there’s the one, “Same time tomorrow I know where you’ll be / same place as always / right here beside me,” and while I was thinking about it, I looked and over and on my bedside table was my copy of Infinite Jest, which is always right there, and I went through all the lyrics and thought, “If this song’s not specifically about him, then it definitely has things about it that are,” because [DFW’s suicide] was tough. I think all of his fans suffered a blow when that happened. Someone who’s basically the smartest person you know, and they’re saying it’s not worth it. Nobody really sees the big picture like he did. Nobody could contain as much, not only information, but the assimilation thereof, in his head as well as he did, and for him to look at it all and say, “It’s not worth it”… That was fucking horrible and crushing, and I disagree with him, and I wish he didn’t come to that conclusion, and, I don’t know.
Paste: The title track to The Believer was about Elliott Smith, too.
Miller: You know what? I think every record that I’ve ever made has a suicide reference on it. In “The Believer,” I definitely sat down the day he killed himself and wrote the song kind of for him. And then the DFW song. But this runs through all the records, you know, little lines here and there. Some of them are more obvious. Like, in “Lonely Holiday,” the lyric is, “I’ve talked so much about suicide / parts of me have already died.” It’s been a major theme in my life, just because I’ve grappled with the urge so much as a young man. I gave in one big time and it almost worked. It’s hard to be a human being, and it’s tempting to think that the alternative would be better. But I don’t.