The Long, Strange Road to Modern Blues: A Q&A with the Waterboys’ Mike Scott
For 35 years, the Waterboys’ Mike Scott has been trying to sew together a kind of musical patchwork quilt, stitched with the threads of his many cultural interests. The shorthand version of this idea is that the 56-year-old Scotsman has primarily worked within the part of the Venn diagram where folk music from the British isles meshes with rock ’n’ roll. But over the course of 11 studio albums with his band, and two without, Scott has found inspiration in several different arenas. There have been touches of traditional Middle Eastern sounds, ‘60s R&B, gospel, electronic music and psychedelia in the mix at varying times and to various degrees. Scott has used this platform to delight in his love for the written word. Many of his songs cite the poetry of W.B. Yeats, and his own lyrics capture breathtaking imagery and artful wit.
Recorded in Nashville, the nine songs that make up his latest album are some of the brashest of Scott’s career. Modern Blues draws from the electric blues and soul that came alive in the Midwest and southern U.S., with the help of Muscle Shoals bassist David Hood and some Crazy Horse-like guitar work from Zach Ernst. Amid this glorious racket, Scott takes listeners on a Kerouac-style journey (“Long Strange Golden Road”), conjures a vision of his favorite artists cavorting together (“I Can See Elvis”), and writes yet another classically striking love song (“Beautiful Now”).
Paste spent a little time with Scott to discuss the sound of Modern Blues, paying his jazz music dues, and hearing covers of his own music.
Paste: How much of an impact did Nashville have on the sound of the new album?
Mike Scott: It didn’t have any impact on the writing because that was all done before. As far as the impact on the sound, there were the obvious things like the quality of the studio, working with an American engineer, using several musicians based in Nashville. All those things, of course, affected the sound. With regards to being in the environment of the city, I don’t think that affected the sound in a big way. But it was nice to be in a place where so much music is getting made and of such quality all the time. There’s a subtle effect.
Paste: Why Nashville then?
Scott: I knew I wanted to make the record in America. We looked at studios in New York and L.A. as well, but the Nashville rooms looked really great. I really liked the quality and the character of the studios. Sound Emporium where we were recording looked moody and mysterious and atmospheric. I have two band members living in Nashville, so that swung it for me, really.
Paste: Since the songs were written ahead of time, how much do they evolve while you’re recording?
Scott: I had a good idea of how they would sound but I always leave room for the unexpected, for what happens when the musicians finally get together and play. That’s an unpredictable thing. I don’t know exactly how everyone’s gonna play and bounce off each other. I think it would be a dereliction of my job as a producer and bandleader if I didn’t allow things to develop while we play. So, of course, some of the songs did develop, most notably “November Tale,” which began as a folk rock ballad with me strumming on acoustic guitar. But we had a guitar player in from Austin, Zach Ernst, and he’s very influenced by soul players from the ‘60s like Cornell Dupree. He brought a wonderful late-’60s Memphis kind of feel to it. Once I heard his playing I shifted the rhythm of the song and brought it more into that vein.
Paste: There are a lot of American references on the album as well, with lyrical nods to Miles Davis, Elvis and Jack Kerouac.
Scott: I hadn’t noticed it until you mentioned it! I mention Joan of Arc and Plato as well, both of them known for their ‘60s soul singles. [Laughing] I think it’s just another coincidence. Of course, I love American music. I’ve been listening to it since I was a kid.
Paste: Do you remember the first time you heard something by Elvis?
Scott: I was born in 1958 and a kid in the ‘60s. I do remember Elvis as a voice on the radio. A very manly, noble, emotional voice. It was a while before I put the voice to a face and began to put two and two together and learn who Elvis really was. For me, it was late-’60s singles like “In The Ghetto” and “Suspicious Minds.” The last good time to run into him, I think.